One of the most celebrated designer duos within the fashion industry, Andreas Kronthaler and Vivienne Westwood were married for over 28 years until the ‘Priestess of Punk’s untimely death in late 2022. The two were not only husband and wife but true soulmates, creative partners that worked together under the Westwood label for almost as long as they were married.
The fashion world mourned the loss of a legend and Kronthaler grieved alongside it, harnessing the power of creativity to transform his pain into something of beauty. Turning a new page for the Vivienne Westwood brand, he drew inspiration from his beloved’s own wardrobe for his most recent fashion shows, not only crafting exquisite collections but creating opportunities for all to join him in celebrating the late Dame’s undying legacy.
In November last year, Kronthaler touched down in Hong Kong for a brief visit and a few minutes with Vogue Hong Kong, where he spoke about his latest collection for Vivienne Westwood on fashion in the digital age.
How does it feel to be back in Hong Kong?
I’ve been here quite a few times in the last, God knows, 20 or more years, and it feels a little bit like home, I think. Maybe it’s the people who are here and who have become friends over the years, so to come back here and meet them is always a good feeling. [Hong Kong] has changed a lot; it’s a place which is constantly evolving. It’s just such a big metropolis and very unique. I really like all the mountains around; you always have the buildings in the centre, with the mountains and water around. It’s the first time now that I think I could actually live here.
What plans do you have for your time in the city?
We’re actually having a little cocktail party in the [Vivienne Westwood] shop. I haven’t been to Patterson Street in a while so I am curious to see how it looks. Then I’ll be going to Mainland China after this because we have a few shops now that I’ve never seen, and I’ve never been to Beijing. I’m still here for a good week, travelling around, [visiting] Shenzhen, and then from Beijing I will go to Shanghai as well.
What was your experience like crafting the Spring/Summer 2024 collection?
The last couple of collections were really collections where I got to terms with losing Vivienne, and it was a process of, I suppose, getting over it. I’m still barely over it— it’s just too definite [to say]— but it was very helpful to address my emotions and feelings. It is a very new life for me, I’m in a completely new situation.
The Fall 2023 collection in March was very near her death, and with the Spring/Summer 2024 collection I really prepared, very consciously, as a kind of tribute to her in a very personal way. It was her private wardrobe just reinterpreted and looked at again, manipulated and played with — it was a great experience. I’ve done so many fashion shows in my life but this last one was one of the most pleasant and most beautiful ones to work on because all the people I work with felt her presence in it all. It made me happy and I thought everything was perfect.
I have always very much liked the process, the preparation that goes towards a collection and a show. In a show it’s not just the clothes, it’s the venue, it’s the music, it’s the lights, the hair, the makeup. There are a lot of elements that all have to come together, and they came together beautifully. I was truly pleased with it.
Will your next collection be about Vivienne?
No, I don’t think it will because I think I can leave that behind now. Of course, we were together for so long and we worked together, so I won’t be able to deny that [she is a] part of me. She’s in my blood, I suppose. The way she looks at things, judges and makes things, I’ve learned ever so much from her so that will still be there. But I’m onto something else and I’m thinking a lot about what I want to do. I want to realise them and I’ve got big plans and it feels good. It feels like the right moment if you know what I mean; it’s an important moment to me and it will show itself with what I do next. It’s all a work in progress but I have dreams. I still have dreams and I’ll try to realise them because I think that is what it is all about.
The Vivienne Westwood brand has always been eco-conscious. Will this still be a core value moving forward?
That’s extremely important and it’s a big part of the house to try to find even better ways of being conscious about the effect fashion has. I don’t exclude us, but fashion in general is a very big polluter and it has a lot to do with climate change, actually. With this state we are in and it’s very, very difficult to navigate through it because every time you make something new, it’s going to harm [the environment]. Vivienne very clearly, many many years ago said, “Buy less, choose well, and make it last.” That is I think the best advice she ever has given. It not only applies to fashion; you can transfer this insight into all parts of your life because the biggest problem of us humans is over-consumption. We just make far too much, make things we really don’t need, and make things we don’t appreciate. It only happened in the last thirty, fourty years. It was different not so long ago when people were much more careful. We are rather careless and it shows.
What are your thoughts on the rise of virtual fashion in recent years?
I have difficulties to tell you the truth, because I miss the emotion. I think fashion is all about emotion and it just doesn’t [show] with this artificial approach. I’m judging it without knowing very much but I like the real thing. I like to touch it, and experience it— I like the whole process of something. Not that I do it very often but I love going to a shop, try on things and think about it. It gives me joy and pleasure, it is a reward. I just don’t think the virtual thing does that.
How do you feel about fashion in the age of social media?
One speaks a lot about this part of our life now, social media or the virtual world. It has two sides: there is a good one and there is a bad one. I don’t think it’s great. It is extremely fast, too fast. I am fast normally, but you can’t appreciate things with that speed. It doesn’t really leave a mark or influence you on a deeper level— it’s not going to shape you. Therefore it’s not that useful because one should do things which make a difference, really. On the other hand, it’s sometimes good for spreading ideas and opinions. Though even then it’s very dangerous because a lot of people say things without thinking, or knowing very much about [what they are saying] and that then becomes the reality.
I recently met quite a few young people from London who were mostly around sixteen, seventeen, eighteen years old, and they seem to have a new way of dealing with all of this — they seem to be less dependent on [social media]. It’s very uplifting to see that actually. I don’t know if you’ve noticed that, but it is quite a difference with millennials who really grew up [alongside] the [rise of] social media. I think the [even] younger people have a different approach that is very positive and hopeful, but it could be just a very personal few.
Do you have any advice for new and aspiring fashion designers?
It’s a very complicated and difficult job, maybe more than ever because so much is controlled by very, very big companies. So it’s difficult for somebody independent to make a mark and to have success. I think there are so many young ones who do brilliant work, but you have to be very, very sure and enthusiastic.
One good thing about this [digital age] is that we can easily access things. For me— and Vivienne always used to say this as well— just go into history. There is so much to see and learn there, and it’s so easy nowadays. I’m not just talking about the last twenty, thirty years; really go and look at things people have done thousands of years ago, because we can. It’s an amazing privilege to be able to do so.
Translated by Alyanna Raissa J. Payos
Editor
Peggie KeiCredit
Lead image: Wayne Hanson
