Return to haute couture
After a thirteen-year hiatus from creating haute couture, Viktor & Rolf re-established themselves as with the Zen Garden (Autumn/Winter 2013–14) collection.[16] Below are small summaries of some of Viktor & Rolf's haute couture designs.[17]
Bonbon (Spring/Summer 2014)
Interested in exploring the point at which skin and clothing meet, Viktor & Rolf created a collection of latex couture pieces titled Bonbon.[18] The fluid materiality of latex (not commonly used in high fashion) juxtaposed with the light colour palette resulted in an almost ethereal and angelic collection. The pieces were created seamlessly and designed to appear as a second skin. To depict an illusion of depth stylistic birds, bows and ribbons were hand painted onto the latex, in a trompe-l'œil technique.[18] The Bonbon collection was modelled by ballerinas en-pointe.
Red Carpet Dressing (Autumn/Winter 2014–15)
Described as a "surrealist commentary", Viktor & Rolf's collection Red Carpet Dressing explored the reciprocal relationship between celebrity and designer.[19] The duo humorously exploited the concept of dressing for the red carpet by designing 22 couture gowns from red carpet.[19] Elegant high fashion pieces were made from unassuming rough and rigid carpet. The designs incorporated animal skin patterns made from the same material and sewn onto the base.[19] The monochromatic palette gave primary focus to the design and pattern making techniques, which recalled primitive knotted constructions and classic couture styles.[19] Viktor & Rolf again used the haute couture platform to comment on the fashion industry and contemporary culture.
Van Gogh Girls (Spring/Summer 2015)
The ideas of momentum and growth were of central importance in the 2015 haute couture collection. To visualise the central concept, Viktor & Rolf adopted the quintessential summer outfit of a floral sundress, flip flops and a straw dress, and transformed the imagery into three-dimensional sculptural pieces. The collection escalated from a simplistic baby doll silhouette into extravagant couture pieces. Floral outlines evolved into three-dimensional fabric flowers, as simple straw hats extended laterally to connect with the pleated dresses. The evocative colours and black graphic outlines present throughout the garment collection were reminiscent of Dutch painter Vincent van Gogh, of whom the collection was aptly named after. Van Gogh Girls is not only an exercise in exaggerating forms and imagery, but additionally showcased the close relationship between artists and fashion designers.
Wearable Art (Autumn/Winter 2015–16)
The fluid link between art and fashion was perhaps most clearly portrayed with the Wearable Art haute couture collection. Twenty models, dressed in simple denim artist's smocks, walked the runway draped in what appeared to be oil paintings.[13] Designed to mimic the imagery of classical paintings with gilded frames, the garments included cloaks, dresses and skirts.[13] Through painterly illusion and construction, Viktor & Rolf transformed framed paintings into haute couture garments, and then back to paintings. During the display, the designers removed five of the garments from the models and hung them back on a white wall. The collection provoked public conversation as to the definition of art mediums.
Vagabonds (Autumn/Winter 2016–17)
Vagabonds entwined recycling with haute couture. Focused on conscious designing, Viktor & Rolf manifested a collection made entirely from discarded materials from their atelier.[20] Strips of fabric were braided, offshoots of tulle were sewn together, and buttons were clustered as embellishment. Overall the garments expressed the artistic possibilities of recycling. The collection was described as "a wondrous feat of conflating rag rugs to riches."[21] Whilst still defined as haute couture, Vagabonds was noted to be a more wearable collection from the duo, offering the public a practical display of eco-friendly haute couture.[22]
Boulevard of Broken Dreams (Spring/Summer 2017)
Recalling the message of recycling from the Vagabonds, Boulevard of Broken Dreams pairs contrasting patterned fabric with a fantastical and delicate colour palette. The recycled layers appear almost like shards of glass placed onto Viktor & Rolf's signature exaggerated couture forms. The designers chose to consciously exploit such imperfections, following the Japanese principle of Kintsugi by gilding faults and seams in gold.[23] The aesthetic and intention of the collection was summarised by critic Suzy Menkes: "The patchwork of grandeur was as pretty in its choice of colour as it was in the feminine shapes. And if recycling could be this elegant, maybe it could draw more fashion people to the party."[23]
