Spring couture this season swung wildly between extremes — from Chanel’s barely-there chiffon tailoring to Robert Wun’s monumental white bridal gown, embroidered with an estimated three million glass beads and weighing close to 92 pounds.
At the Lido cabaret, Wun’s show unfolded against a wall of video screens flashing boiling storm clouds and relentless streaks of lightning, setting the tone for a collection steeped in dystopia and sci-fi futurism. His designs leaned heavily into drama and symbolism, with storytelling that felt intentionally weighty.
There was a clear fixation on protection and power: oversized collars that swallowed faces, crystal masks, sculpted breastplates exaggerating anatomy, aerodynamic headwear, razor-sharp shoulders, trailing fishtail skirts and long streamers. At times, swords pierced bodices at the heart. The result was couture that felt witchy in one moment, Western in another, and unmistakably warrior-like throughout.
Up close, the surfaces of the garments looked almost unreal — molten metal finishes, textures resembling 3D-printed figures, and surreal accessories such as cuff bracelets sprouting extra hands, making some pieces appear as though they had been generated by artificial intelligence.
Before the show, the Hong Kong–born designer explained that he had revisited his 2012 London College of Fashion graduate collection, a time when his imagination felt freer, wilder and less restrained by commercial realities. That reflection fed into a broader commentary on the internal battles designers face, as well as the challenge of building a sustainable business in an increasingly volatile world.
“Every creative nowadays is a warrior,” Wun said. “They’re always battling within and externally as well. Hopefully people can see why we need couture, where a designer can actually be themselves.”
Couture, fashion’s most rarefied and demanding form, is not for the faint-hearted — and this season, Robert Wun proved once again that he is among its bravest practitioners.
