While the iridescent metallic edges on the invitation were a foreshadowing of what was to come at Veronique Branquinho, no one could have anticipated the swinging sixties spirit that would rule the show. Girls in Ramones wigs walked to a string of sixties songs, from The Kinks’ Till The End of the Day to The Beatles’ Dear Prudence and The Velvet Underground’s There She Goes Again, but it was 1969 by The Stooges, which best captioned the part of the decade Branquinho was portraying. Of course, the sixties vibes only served as a stylistic frame for a collection, which could easily hold its own in 2014. One of the best exercises in Spring/Summer’s metallic mega trend, it experimented with the effects of Lurex garments in layering, for instance by putting an iridescent, translucent glitter top over a glistening aquamarine body, or pairing shiny, shiny buoyant materials with shiny, shiny PVC. It should have been a bulletproof recipe for tastelessness, but Branquinho had a firm grip around her subversively chic performance. Cleverly, the sixties element – which, apart from the hemlines, wasn’t a crucial feature in the collection itself – counterbalanced all the sparkle and shine, and added a sense of rawness to the collection, even when a particularly Parisian segment of satin dresses and satin-on-satin suits took the gleam factor to a new level. For the finale, Branquinho sent her models out in various takes on the white shirtdress, the catchy chorus of My Generation by The Who echoing in the Palais des Beaux Arts.
While the iridescent metallic edges on the invitation were a foreshadowing of what was to come at Veronique Branquinho, no one could have anticipated the swinging sixties spirit that would rule the show.