How Vivienne Westwood changed the way brides dress forever

Few fashion designers are synonymous with weddings like Vivienne Westwood, whose revolutionary approach — in fashion as well as in life — was fired by her disdain for corruption and injustice, earning her nicknames such as the “high priestess of punk.” It’s an ethos that may seem at odds with the conspicuous consumption that the bridal industry is associated with. But Westwood, who died in 2022, was also one of the UK’s most revered style icons, and the designs by the British house she founded in 1971 have long appeared on many a bridal Pinterest board. Through the adept use of draping, corsetry and other details that transform the wearer, Vivienne Westwood’s designs are flattering on the figure. What sets it apart from other labels is its signature punk and subversive aesthetics, consequently appealing to brides who crave something different and unique and want to express their individuality. Singer Miley Cyrus, burlesque dancer and model Dita von Teese and chef and former model Lorraine Pascale are among the celebrities who have worn a Westwood gown for their wedding day. Even WikiLeaks founder and activist Julian Assange and his wife were outfitted by the designer for their wedding, which took place in the high-security Belmarsh prison in London. (Westwood herself was a longtime supporter of Assange and called for his release from custody.) “People are drawn to Vivienne Westwood because she stands for something,” the brand’s creative director Andreas Kronthaler, and also the late designer’s husband, wrote to CNN in an email. “She stands for women, and for strength, power and courage.” He added: “The Vivienne Westwood bride is a heroine.” Yet, while several brides wearing Vivienne Westwood have been featured in magazines, including Vogue and Elle, perhaps the most memorable example is Carrie Bradshaw (played by Sarah Jessica Parker), who wore a voluminous gown by the label when she was left stilted at the altar in the 2008 “Sex and the City” movie — leading to a dramatic scene in the middle of Manhattan, where she chides her fiancé, Mr. Big, for the humiliation. One might imagine that to be the last of Bradshaw’s famous dress — but in an unexpected move, it was revived in the second season of series’ reboot “And Just Like That,” when she sought a last-minute look to wear to what it called the “Met Ball.” She gave the dress an update by accessorizing her look with a matching teal cape, gloves and heels. (The television series and sequel aired on HBO, which shares the same parent company as CNN: Warner Bros. Discovery.) The next big fashion week? Hoping to capitalize on its renown, Vivienne Westwood staged its first bridal fashion show as part of Barcelona Bridal Fashion Week on Thursday. Staged at the University of Barcelona and attended by local celebrities including Spanish singer Bad Gyal and Spanish actor Georgina Amorós, 35 new looks — including made-to-order and couture designs — were presented. In true Westwood fashion, these were no ordinary wedding gowns. Several looks veered away from tradition and were not a typical bridal white. There were also shirts, blazers and trousers. “The collection is a potpourri of past, present and future,” Kronthaler explained. “It’s what we are about. It’s the spirit of the house.” The first time that a wedding dress by Vivienne Westwood appeared on the runway was during her Spring-Summer 1992 show, though her history with bridalwear dates back to 1962, when she designed her own wedding dress for her first marriage to Derek Westwood. (They separated in 1965.) Westwood met Kronthaler in 1988, when she was teaching fashion design at the Vienna School of Applied Art, and when the two wed in 1993, she also designed their wedding looks: identical light grey wool suits with butter-yellow cotton polos. Kronthaler declined to comment on the current size of Vivienne Westwood’s bridal business but said that it was “an important part of the house” as “something Vivienne and I have done since the early 90s.” He continued: “It’s grown over the years, and we’ve cultivated a desire for it, because we offer something particular and special.” Originally available as a bespoke service for private clients, Vivienne Westwood’s bridal offering has expanded since 2019 to include made-to-order collections that are sold in its five bridal salons in London, Paris, Milan, New York and Los Angeles. Its ready-to-wear bridal designs are also stocked by retailers globally: On Mytheresa, a mini dress made from crêpe satin costs $4,790, while a full-length gown is priced at $14,350. Today, Vivienne Westwood competes with a wider spectrum of brands, from emerging designers to established labels, which are looking to cater to Gen Z and Millennial brides looking for a less traditional take on wedding attire. This year, Badgley Mischka and The Atelier by Jimmy Choo were among the high-profile names at Barcelona Bridal Fashion Week, which was the largest edition in its history, and drew around 450 brands and buyers from over 80 countries. Asked whether Vivienne Westwood plans to stage a bridal fashion show annually, Kronthaler sidesteps the question but said the brand would look to stage a runway in other cities. “We would absolutely love to do a bridal show in New York. I love the city, and I hope we can make it happen very soon.” For Kronthaler, his wife’s spirit lives on through the label’s non-conformist approach to bridalwear. He observed that multiple ensembles and multi-use looks are gaining popularity, as brides opt for various outfits that can be worn throughout their wedding day — and beyond. “Perhaps before (people) concentrated on one dress,” he said. “Today, brides love changing into different looks, to metamorphosize into different characters.” Kronthaler continued: “It remains a wonderful thing to spend your life with someone — and I think you establish and celebrate this through what you wear on that special day.”