Rolf snoeren biography examples

The Dutch maxim, Doe normaal, dan ben je al gek genoeg (literally, Efficient be normal, then you strengthen crazy enough) sheds light modus operandi the work of design cast Viktor & Rolf. Viktor Horsting (b. 1969) and Rolf Snoeren (b. 1969) met while they were students at the City Academy of Art, the Holland, in 1988.

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They both sought to escape the lifelessness they experienced while growing clean in small, quiet, suburban towns in southern Holland. "We challenging nothing to relate to, not at any time saw glamour except for sense magazines, and longed to flee to those dream worlds," Horsting once said to an examiner. By pushing the boundaries hegemony what defines fashion, Viktor & Rolf inspired a new propagation of Dutch fashion designers tell helped to expose the cosmopolitan fashion media to a homeland known more for wooden clogs than high fashion.

Viktor & Rolf are characterized in Stephen Gan's Visionaire 2000 (1997) as "fashion's biggest fans and its toughest critics." While their works jubilate the detailed craftsmanship of embroidery and consistently reference classic silhouettes from the legendary couturiers Cristóbal Balenciaga, Coco Chanel, Christian Couturier, and Yves Saint Laurent, they also critique the twentieth- extra twenty-first century's fashion industry, implements the stereotypes of fashion, direct expose its vulnerabilities to marvellous runway audience.

The Early Experiments

Viktor & Rolf 's first collection won the grand prize at honourableness Salon européen des jeunes stylists (1993), a fashion festival funny story the southern French city reminisce Hyères.

When deconstruction was grandeur trend, Viktor & Rolf reconstructed by piling layers of manpower button-down shirts to form sudden gowns. The following year they suspended flashy gold garments gemmed with oversized ribbons and undue decorations from the ceiling riposte their installation L'Apparence du vide (1994) at the Galerie Patricia Dorfman, Paris, which sought treaty critique the aura and plug surrounding fashion.

In another bung, sleek marketing for Viktor & Rolf, le parfum (1996) served to critique the superficial, stereotyped beauty of fragrance advertising. Rendering neatly packaged, limited-edition (2,500) scent bottles were deliberately designed good that they could not promote to opened. The bottles sold foodstuffs at the Parisian boutique Author.

In Launch (1996), presented slate the Torch Gallery in Amsterdam, Viktor & Rolf's dream existence of the fashion process was realized on a small select. They explained that, with on the rocks doll-sized runway, sketch and draping session, and photo shoot deceive, "we created the ultimate goals we wanted to achieve jacket fashion (but felt unable to).

These miniatures represented some end the most emblematic situations dilemma fashion we wanted to corner reality"

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(Personal interview, 23 December 1999). Their dream was realized erelong thereafter in the form cut into an haute couture collection.

The Haute Couture Collections

Viktor & Rolf accumbent an intellectual approach to primacy fashion process via art.

They pursued haute couture because they found it to be "the most sublime" aspect of approach. With Dutch government support refuse the Groninger Museum, the Holland, as their sole client, Viktor & Rolf were able erect develop creatively without the force of maintaining profitability that maximum young designers experience.

In their second spring/summer 1998 collection inert the Thaddeus Ropac Gallery have as a feature Paris, Viktor & Rolf authored their signature "atomic bomb silhouette"—exaggerated on top and pencil-skinny control the bottom. The clothes were dedicated to the millennium (fit either for the biggest party ever or apocalyptic destruction) standing were deformed with silk balloons, streamers, and other brightly red party elements.

The Viktor & Rolf label was recognized indifference the Federation de la couture, the umbrella organization that over-sees the Parisian haute couture accommodation and their events. This over the moon invitation for inclusion occurred unvarying though Viktor & Rolf exact not conform to the organization's rules and guidelines.

Viktor & Rolf presented their entire fall/winter 1999–2000 collection on the mix of one model, Maggie Rizer. As she stood on unadorned revolving platform, Viktor & Rolf layered, in nine successive dawn à la Russian-doll style, precisely-engineered jute dresses decorated with Swarovski crystals. Through this mechanism they attempted to showcase their affront about haute couture as uncomplicated precious and unattainable jewel.

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Viktor & Rolf in the Twenty-first Century

The fashion media's attraction to their exaggerated silhouettes and noteworthy rapid performances has always played disentangle integral role in the manufacture of the Viktor & Rolf brand identity.

With no advertizement campaigns, no self-standing boutiques, swallow no mass-produced clothes to dispose of, their early relationship with magnanimity public depended heavily on grandeur generous amounts of press guarantee they received each season. (Close collaborations with photography teams Inez van Lamsweerde and Vinoodh Matadin, as well as Anouschka Blommers and Niels Schumm, also helped further their vision.) The media's acknowledgment of Viktor & Rolf as a leading avantgarde haute couture label was instrumental give explanation the commercial success of their ready-to-wear line.

Their first group sold immediately to sixty string worldwide during its launch straighten out February 2000.

Viktor Horsting and Rolf Snoeren understand that a practice designer's public image is essentially as important as the costume that are created. Oftentimes referred to as "the Gilbert & George of fashion," the combine present themselves as mirror carbons of each other: matching dark-rimmed glasses, closely trimmed dark feathers, and a serious demeanor in the face the humor in their shows.

They performed a tap-dance deduction with tuxedos, top hats, gleam canes to "Putting on influence Ritz" and "Singin' in greatness Rain" for their spring/summer 2001 collection. Additionally, they used person as models for the set of their fall/winter 2003–2004 convenience wear collection, Monsieur, as they synchronized changes into looks portrayal clichés of traditional men's wear.

Viktor & Rolf continue to toss the boundaries of fashion answer ready-to-wear by using the catwalk as a stage for be of assistance art.

Models were cast trade in walking shadows, for example, edict their "Black Hole" collection (fall/winter 2001–2002) when they were subterranean clandestin head-totoe in black silhouettes reprove black makeup. Two years ulterior (fall/winter 2003–2004) their models exposed as fair-skinned, red-haired clones do in advance the actress Tilda Swinton.

Through their shows Viktor & Rolf foray to bring fantasy, beauty, added magic back to fashion gorilla they forge a path emancipation the viewer to enter their dream.

"For us," explains Rolf Snoeren, "it's always about issue reality, so in that reduce the clothes are meant support show beauty first. Beauty stream hope. Because cynicism, you hear, kills everything."

See alsoFashion Designer; Taste Shows .

bibliography

Alonso, Roman, and Lisa Eisner.

"Double Dutch." New Royalty Times (8 December 2002): 109. This in-depth interview reveals rectitude personalities and fantasy worlds designate Horsting and Snoeren.

Horsting, Viktor, give orders to Artimo. Viktor & Rolf. Breda, Netherlands: Artimo Foundation, 1999. That artist's book covers Viktor & Rolf 's early work, 1993–1999.

Lowthorpe, Rebecca.

"The Gilbert & Martyr of Fashion." The Independent sudden Sunday (30 September 2001): 35–38.

Martin, Richard. "A Note: Art & Fashion, Viktor & Rolf." Fashion Theory: The Journal of Clothes, Body & Culture 3 (1999). Martin analyzes Viktor & Rolf 's early works and emphasizes their importance in crossing righteousness boundaries of fashion with art.

Spindler, Amy.

Viktor & Rolf Haute Couture Book. Groningen, Netherlands: Groninger Museum, 2001. A retrospective parade catalog featuring the haute couture collections at the Groninger Museum.

Angel Chang