Rosemary’s babydoll

Rosemary’s baby 1968 + Viktor & Rolf Couture Spring 2015

During Viktor & Rolf’s Couture show you could hear Rosemary’s lullaby, sung by Mia Farrow herself.

Rosemary's Baby - Viktor & Rolf Couture Spring 2015

Rosemary’s Baby 1968 – Viktor & Rolf Couture Spring 2015

And it wasn’t only about the baby blues, there were many sides to the collection, like the explosive flower prints that flew away from the fabric turning into real life looking plants. They were so amazing, they only had to make 20 dresses.

Viktor & Rolf Primavera Alta Costura 2015 - Foto de The Independent

Viktor & Rolf Spring Haute Couture 2015 – Picture from The Independent

These prints, with an Africa meets Europe feel, come from the Dutch textile company Vlisco, which has been exporting Real Dutch Wax fabrics since 1846. Due to trade rutes, this European technique became huge in the West coast of Africa.

For their latest Haute Couture show, Rolf Snoeren y Viktor Horsting ordered prints from Vlisco, using one singular flower motif, and built their collection from there. It was all about these three-dimensional pieces, flowers that were seperated from the fabric, and were aiming to the sky, with petticoats so big and strong that they made Elie Saab‘s wedding dress look like a walk in the park.

Over the extravagant dresses stood ears of wheat, arranged into theatrical pieces of millinery. They were intended to reference Dutch artist Vincent Van Gogh, specially his Wheat Fields series; reason enough to quote him later on the press release: “I put my heart and soul in my work and have lost my mind in the process”.

Wheat Field behind Saint Paul Hospital with a Reaper by Vincent Van Gogh + Viktor & Rolf Spring Couture 2015

Wheat Field behind Saint Paul Hospital with a Reaper by Vincent Van Gogh + Viktor & Rolf Spring Couture 2015

Following the show, Rolf Snoeren and Viktor Horsting announced that they will discontinue their Prêt-à-porter line, and will be dedicated exclusively to perfume and couture. “We feel a strong need to refocus on our artistic roots,” said Viktor Horsting and Rolf Snoeren in a joint statement. “We have always used fashion to communicate, it is our primary means of artistic expression. Ready-to-wear (with its fast pace, many deadlines and fierce competition) started to feel creatively restricting. By letting go of it, we gain more time and freedom.”

Focusing on couture and fragrances is not a crazy idea, in a letter written to Women’s Wear Daily on September Jean Paul Gaultier wrote: “For some time, I have found true fulfillment in working on the haute couture and it allows me to express my creativity and my taste for research and experimentation. At the same time the world of ready-to-wear has evolved considerably. Commercial constraints, as well as the frenetic pace of collections don’t leave any freedom, nor the necessary time to find fresh ideas and to innovate. … This is a new beginning, I will be able to express again my creativity fully and without constraints.”

So time, less pressure, freedom, couture for the sake of the art, fragrances for the sake of the money. Sounds like a great way to turn the time bomb off. No Van Gogh ending for them.

Many could ask, who wears these dresses anyway? Three from the Viktor & Rolf Spring Couture collection were acquired by art collector Han Nefkens and will be donated to the Museum Boijmans Van Beuningen in Rotterdam. So maybe you are right, nobody would wear those dresses, but did anybody say that they were meant to be worn in the first place?

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