Nice Doodlebob Holding Twisted Tea Can Shirt
The collection also presented plenty of tailoring options for the modern bride. “They are really very mannish suits—the idea is really about stealing his jacket,” the designer says, with a mischievous smile. While casting the show, they decided to use models of all genders to wear the pieces, and Kronthaler himself even closed the show wearing a white veil, floral boa, and floor-length skirt—and a The Simpsons T-shirt. (The day before the show, he hinted: “It may be great to have some boys in wedding dresses, too.”) While the majority of designs were brand new for the show, Kronthaler also dipped into the brand’s formidable archive for inspiration. The opening gown was a recreation of a dress his former wife Vivienne Westwood made for 1995’s Vive la Cocotte collection, based on Madame de Pompadour, a Rococo painting by the artist François Boucher. “It’s something Vivienne loved, something I loved, and we loved terribly much together,” says Kronthaler of the famous artwork, which hangs in London’s The Wallace Collection, a favorite musuem of the late designer’s. “No woman has ever looked like that in a painting—it is the most beautiful dress ever made in the history of the human race.”Nice Doodlebob Holding Twisted Tea Can Shirt
For the first time ever, Kronthaler created the flamboyant gown in white and asked model Simonetta Gianfelici—who walked for Vivienne Westwood in the ’80s—to wear it in the show. “I’m thinking here a lot about Vivienne in it all,” reflects Kronthaler. “She would love it. She would absolutely adore it.” In her role as a staff writer at The Atlantic, where she has covered Madonna, Taylor Swift, The White Lotus, Severance, and become a finalist for the Pulitzer Prize for Criticism, Sophie Gilbert spends a lot of time thinking about pop culture, functioning as a kind of Lionel Trilling for the TikTok generation. With her new book, Girl on Girl: How Pop Culture Turned a Generation of Women Against Themselves (out April 29 from Penguin Press), Gilbert looks back at the late 1990s and early aughts, endeavoring to find out what happened to feminism in the early 21st century. In so doing, she shines a light on the last few decades of popular culture and their intersections with sex, politics, fame, morality, and much more. Sophie Gilbert: There were two precipitating moments. I had twins in July 2020 in New York City, right in the middle of COVID, and in the months after, I totally lost myself. I couldn’t read or watch TV; I barely slept and was too exhausted to eat. My husband and I took care of these tiny babies in what was essentially total isolation, and in that, we both experienced a kind of total breakdown of self. And so when I went back to work and started engaging with the world again, I found myself circling stories that were about culture and identity: how the art we consume influences who we are, for better and worse.
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