Robert Wun held a couture display called Time today to celebrate the 10-year anniversary of his brand. He stated that he wanted to consider “why I’ve been doing this for so much, why I continue to do it, and for how much.” He used these inquiries as a starting point for a collection of one-of-a-kind grandiose showtoppers. “I asked myself why I do style, and what does time suggest?” Did he find an solution? “Yes, I did. The answer is to take that one moment anything ends—and that’s okay.”\
For Wun, accepting time constraints energy imagination, the only way to make time valuable, he reasoned, is to enjoy the day you’ve been given on world. “To state that we’ve got to live in the moment is a cliché, but, actually, what you’re doing you can only do it again, so much like it no problem success or failure”. Success has been a more plausible chance for Wun than loss has been so far. His elaborate creations have attracted the attention of celebrities as well as their wealthy stylists, who are constantly searching for the latest feeling. The colorful dazzle of Wun’s creations has attracted the likes of Beyoncé, Lady Gaga, Björk, and Cardi B, among some others—a roster that now makes for the indicator of a company’s hotness.
Access envisioned the growth of the seasons in order to translate the idea of time passing into actual clothes (a difficult task, really). He offered a beautiful black gown with a coordinating veil embroidered in crystals, which would represent “the first falling of snow.” “It’s winter, a season that makes people more reflective, so I started from it.” A slender trailing coat that appeared to have been shredded apart and then mended up along with a kind of kintsugi technique, resembling a craquelé impact from which butterfly appliqués appeared to be swirling out, was moreover rendered as a bright layer on top. Perhaps this was a hint of hope? Or to charm emerging from disintegration?
A serpentine black princess quantity, from which a tight-fitting gown embroidered in pink cherry blossoms appeared, appeared to provide the solution. Wun said it was intended as a forerunner of springtime: “In Chinese philosophy, plants are wonderful because they aren’t meant to be long. If they’d blossom forever people wouldn’t find beauty in them”. Thus, the decay of elegance was a theme around; time’s erosion on every living thing was obviously revealed by apparent burns on the hems of a vivid yellow three-piece made entirely of swishing silk, which was massive and completely plissé. Throughout the entire series, the beheadings were carried out with faith. We printed the burn marks we had on an organza piece of paper on silk and burned the edges with additional heat to illustrate the result, explained Wun. “Burn, test, print, and therefore reburn.”
In the set’s story of the passing of time, the four last looks represented, both, the skin, body, bones, and soul, in a sort of liberal stripping down, both physical and spiritual. The body and the bone were the two that were most brilliantly rendered. The body was a blood-red, tall sheath completely covered in horn stones that were sewn standing up as peaks rather than straight as they are typically embroidered. The dress was apparently so heavy (40 kilos) that it couldn’t be hung. Wun, who is known to be a fan of the horror genre, made it abundantly clear by the picture of the vertebrae, “I wanted to give the idea of the muscle that come out of the body.” A half-skeleton doll that dangled alarmingly at every stage was escorted over a skintight black suit. Its somewhat precise interpretation was miraculously saved by the soul’s. In the dimly lit setting, it appeared as though a trailing shrouded gown was adorned with multitudes of small, colorful crystals. It looked more beautiful. “The soul isn’t meant to perish”, Wun said. “It goes up to the world.”