The fact that Vivienne Westwood supports the yes campaign in the Scottish referendum should come as no surprise - she's been mouthing off about the establishment for three decades, and we love her for it.
And the fact she ended her show with the Sex Pistols God Save the Queen only goes to underline how much we rely on her to inject a bit of iconoclasm into proceedings. That said, she's reliable in other ways too - namely that her second line Red Label consistently hammers home the Westwood vision, its identity and a veritable archive of greatest hits to her many legions of fans.
All the classics were there: the draped square dress, the fitted suit and wiggle skirt, the bagged culottes, the bodices and the bustier gowns. Only today, they took on an aspect of capitalism vs the people, the tailoring rendered with arch-corporate giant lapels and broad, almost zoot-like shoulders. It was power dressing sent up.
And the other pieces then felt like a pastoral solution, an opting out. They were as complex as ever but offered in simple linens and striped worsted, cotton bodices unbuttoned seductively, the rosy-cheeked Scottish milkmaids to Westwood's cast of capitalist characters.
Vivienne Westwood has many messages and causes - 'yes' badges jostled for position on pirate hats and lapels with drone slogans and climate change warnings - but perhaps that's because one thing she doesn't need to shout about, that doesn't need a government investigation or even an ethical turnaround, is her design talent and the clothes she so tirelessly puts out. They've got the world's vote, regardless of what happens in Scotland next Thursday.
