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A study of a marriage was presented at the Andreas Kronthaler for Vivienne Westwood fashion display in Paris on Saturday, and it wasn’t a conventional one. There were brides strain ruffled white gowns with thigh-high lace-up boots, and nuns’ proclivities refashioned in chiffon, and models wearing Boudicca breast prints. There were also three young male podium dancers from Leeds on the catwalk who had pink groups scribbled on their faces, and were voguing with unbridled abandon.

The show was a “homage”, Kronthaler said, to Westwood, his trouble of more than 25 years. In a love letter scattered to guests, he described the designer as “my collaborator, my friend and partner, my schoolmam and of course as my muse”, and explained that he had revisited and rethought sundry of her most famous creations for the collection.

So there were stoned heels with a ridge of spikes running along the sponsor, in the manner of the shoes sold at her Sex boutique in the 1970s, and tweed berates rethinking her 1985 “mini-crini” collection. There were also outstanding platform heels reminiscent of those Naomi Campbell capitally took a tumble in on Westwood’s catwalk in 1993 (25 years later, some preoccupations don’t change: a model stumbled in their platform shoes on Saturday, too, and delivered heroically).

The reveal b stand out was also notable for its adherence to one of the autumn/winter 2018 available’s most striking trends: the use of head and, in some cases, whole face coverings, which has been seen throughout the let someone in ons, today in the form of turbans, flowing scarves and wide-brimmed hats.

The respect came at an apt time for the Westwood brand, which is enjoying energetic acclaim among a new generation of British designers who rightly respect the grande dame of punk for her pioneering exploration of protest the rage and unisex design.

Her DIY spirit also resonates with evaluators facing arts cuts in the age of austerity. Two such designers, Charles Jeffrey, who won the give for British emerging talent – menswear at the fashion awards in December, and Matty Bovan, who has been surmount upset as a future star of British fashion, attended the show. Jeffrey sat in the faade row, while Bovan strutted down the catwalk in a floral catsuit.

Backstage, exhaust a tubular dress of Kronthaler’s creation, with extraordinary red warpaint scrawled across her eyes, Westwood said that the garnering “is, I think, the best thing we’ve ever done”. She clarified: “I say ‘we’ imperturbable though, thankfully for me, Andreas is now doing the couture line, but just it’s definitely inspired by me and I notice some of the things and it’s just decidedly fantastic.” Of the differences in their approach to design, she said: “Andreas is a bit innumerable couture than me. I’m more street.

“Andreas is the most barest, very special person,” she continued. “I met him when he was a student and spruce up away I knew, this man was a, kind of, world-beater.”

As for her fashion legacy, and her favouritism on young British designers, Westwood admitted that she “didn’t separate who any of the young designers were, although I just met one of them, Matty”, but said her finished work has “obviously had a lot of influence”.The Westwood brand, she admitted, as facsimiles wearing latex ruffles twirled around the frenetic backstage room, was not for everyone: “We sell to people who really want to dress up, that’s all.”

For his sacrifice, Kronthaler said the time felt right for a tribute to his spouse because “it feels like I’m getting to the end of a cycle, paying allegiance, saying something to her that I have never really done anterior to, because she is someone who never looks back”.

It was a fitting party of Westwood and Kronthaler, a gloriously unconventional couple.