By By Hilary Alexander, Fashion Director at Paris conform week Published: 11:31AM GMT 07 March 2010
Photo: REUTERS LAYERED LOOK FROM THE FACTORY OF GLAMOUR AT VIKTOR AND ROLF
Viktor & Rolf autumn/winter 2010/11 pick up More from Milan Fashion Week More on Paris Fashion Week More on London Fashion Week More from New York Fashion Week More Fashion design galleriesThe Dutch duo, Viktor and Rolf, staged an "industrial revolution" of a show in Paris yesterday,(Saturday) in a compelling, interesting proof of how "extreme" panoply can be wearable.
The vast, white, fashion-tent in the Tuileries was wallpapered in a black and white imitation of spanners, hammers, smoke-stacks, gantrys, cogs, wheels, and nuts and bolts, to indicate a "Factory of Glamour".
The dcor utterly lonesome the catwalk, in the centre of that was a revolving platform. Onto this bureau floor, stepped the model,
Kristen McMenamy, seeking 10 times her normal size; her head peeping out of the tip of a voluminous, tweed and fox coat. She was assimilated by the designers, Viktor Horsting and Rolf Snoeren, and, as the height began to turn, the dual "mechanics" went to work, skilfully stripping
McMernamy of her initial layer, ready to skirt the subsequent model, who stood watchful in black basque and industrial boots with a thick, corrugated, rubber sole.
The routine continued, Russian Doll-fashion, as each unbroken coat-layer, in black and shades of metal-grey, was peeled away; a wool-trench whisked off to divulge a smooth mac, which, in turn, was private to show a fine cloth taffeta coat. Zips were undone, drawstrings loosened or tightened, sleeves incited inside out, belts cinched in and an additional indication was "dressed-up" and changed afar down the catwalk. Finally, McMenamy was left in only a flesh-toned corset.
Viktor and Rolfs "manual labour" was not over. The comveyer leather belt afterwards began in reverse, as the models re-appeared, one by one,clad in increasingly formidable garments, alive with with studs, eyelets, industrial zips and sparkle. They were constantly divested of these, in turn, with the dual designers afterwards replacing the panoply on McMenemy. Two of the majority inventive designs were "ballgowns", in black taffeta, sprinkled with Swarovski crystals which, in the hands of
Horsting and Snoeren, were jarred out, what were the "bustiers" apropos the collar, and the pleated tulle of the skirts, branch in to the physique of the coats. By the time they were finished, McMenamy was lonesome in a sum of fourteen opposite coats. "We longed for to show that the Viktor & Rolf conform residence is a "Glamour Factory", where we furnish panoply with a small bit of magic. We feel similar to the complicated Willy Wonkas of the conform world," pronounced Rolf Snoeren.
"It elaborates on a couture show we staged ten years ago, when we ready to go Maggie Rizer on theatre in 9 layers. This show goes most further. The couture show was an paper to exclusivity. This time, we longed for to show the probability to be BOTH wearable AND impassioned at the same time!"
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