Not content with being the toast of last year's Met Museum punk fashion showcase, Vivienne Westwood for her autumn Gold collection found inspiration in this year's theme too, the work of couture designer Charles Frederick Worth.

This came through in cropped rising jackets made from thick military-style olive green, cropped at the waist and sometimes with tails, and cloaks in Lincoln felt, finished with leg-of-mutton sleeves. There were full skirts too, with a make-do-and-mend feel – patched from different fabrics of raw cotton, striped and Chinoiserie silks, some emblazoned with Westwood's idiosyncratic 'propaganda' slogans against cracking and government surveillance.

So not exactly like Worth, then.

The Edwardiana and rebelry she combined with influences from the Peruvian Ashaninka tribe, in hempen shoulder bags and beaded sashes, as well as a jungle print. Westwood has this season used the tribe's traditional adornments, artisanally made by them.

In a way, Westwood's models were a reinvention of the glorious debutantes of yore, famously dressed by Worth and photographed by Cecil Beaton. But this time around, the bustles were perilously short mini-crinis worn with paper-y leather bustiers, the silk deliberately watered and worn-looking. One 'stepping out'-style shawl was made from sheer black tulle, a haze of colour around the model. 

And the bride – in white sheer tulle, piled thick into a turn of the century-esque crinolined full skirt but transparent to reveal antique lace lingerie detailing. It was punk couture in its purest form.

The tulle was supposed to summon the morning mist of the rainforest, the designer explained, the earlier green felt its verdant lushness.The charity supported by the brand, Cool Earth, is on track to save three equatorial habits by 2020.

By all accounts, another Worthy cause from Vivienne Westwood.