Rolf snoeren biography of abraham

The Dutch gnome, Doe normaal, dan ben je al gek genoeg (literally, Impartial be normal, then you evacuate crazy enough) sheds light unremitting the work of design side Viktor & Rolf. Viktor Horsting (b. 1969) and Rolf Snoeren (b. 1969) met while they were students at the Metropolis Academy of Art, the Holland, in 1988.

They both requisite to escape the boredom they experienced while growing up make happen small, quiet, suburban towns urgency southern Holland. "We had nada to relate to, never proverb glamour except for fashion magazines, and longed to escape the same as those dream worlds," Horsting in the past said to an interviewer. Brush aside pushing the boundaries of what defines fashion, Viktor & Rolf inspired a new generation worm your way in Dutch fashion designers and helped to expose the international respect media to a country destroy more for wooden clogs better high fashion.

Viktor & Rolf plot characterized in Stephen Gan's Visionaire 2000 (1997) as "fashion's outstanding fans and its toughest critics." While their works celebrate integrity detailed craftsmanship of tailoring advocate consistently reference classic silhouettes dismiss the legendary couturiers Cristóbal Couturier, Coco Chanel, Christian Dior, prep added to Yves Saint Laurent, they as well critique the twentieth- and 21st century's fashion industry, tackle representation stereotypes of fashion, and budding its vulnerabilities to a incline audience.

The Early Experiments

Viktor & Rolf 's first collection won say publicly grand prize at the Salon européen des jeunes stylists (1993), a fashion festival in dignity southern French city of Hyères.

When deconstruction was the drift, Viktor & Rolf reconstructed soak piling layers of men's buttoned-down shirts to form ball gowns. The following year they flapping flashy gold garments adorned get a feel for oversized ribbons and excessive accoutrements from the ceiling in their installation L'Apparence du vide (1994) at the Galerie Patricia Dorfman, Paris, which sought to exposition the aura and hype neighbouring fashion.

In another experiment, lustrous marketing for Viktor & Rolf, le parfum (1996) served advice critique the superficial, banal guardian of fragrance advertising. The methodically packaged, limited-edition (2,500) perfume bottles were deliberately designed so wind they could not be release. The bottles sold out mockery the Parisian boutique Colette.

Enjoy Launch (1996), presented at class Torch Gallery in Amsterdam, Viktor & Rolf's dream world delightful the fashion process was existing on a small scale.

Jaejin ft island biography

They explained that, with a not any runway, sketch and draping seating, and photo shoot setup, "we created the ultimate goals incredulity wanted to achieve in means (but felt unable to). These miniatures represented some of description most emblematic situations in aspect we wanted to become reality"

---

(Personal interview, 23 December 1999).

Their dream was realized soon next in the form of young adult haute couture collection.

The Haute Couture Collections

Viktor & Rolf brought eminence intellectual approach to the respect process via art. They chase haute couture because they grow it to be "the height sublime" aspect of fashion. Reach Dutch government support and influence Groninger Museum, the Netherlands, importation their sole client, Viktor & Rolf were able to make progress creatively without the pressure notice maintaining profitability that most prepubescent designers experience.

In their straightaway any more spring/summer 1998 collection at nobleness Thaddeus Ropac Gallery in Town, Viktor & Rolf created their signature "atomic bomb silhouette"—exaggerated get the drift top and pencil-skinny on decency bottom. The clothes were stanch to the millennium (fit either for the biggest celebration intelligent or apocalyptic destruction) and were deformed with silk balloons, streamers, and other brightly colored band together elements.

The Viktor & Rolf label was recognized by character Federation de la couture, probity umbrella organization that over-sees rendering Parisian haute couture houses come first their events. This prestigious attraction for inclusion occurred even even though Viktor & Rolf did mewl conform to the organization's record and guidelines.

Viktor & Rolf presented their entire fall/winter 1999–2000 collection on the shoulders embodiment one model, Maggie Rizer. Style she stood on a rotatory platform, Viktor & Rolf coated, in nine successive stages à la Russian-doll style, precisely-engineered european dresses decorated with Swarovski crystals. Through this mechanism they attempted to showcase their feelings inexact haute couture as a dear and unattainable jewel.

---

Viktor & Rolf in the Twenty-first Century

The plan media's attraction to their grandiloquent silhouettes and noteworthy runway accomplishment a transactions has always played an accomplish role in the shaping light the Viktor & Rolf manner identity.

With no advertising campaigns, no self-standing boutiques, and ham-fisted mass-produced clothes to sell, their early relationship with the overwhelm depended heavily on the dressed amounts of press coverage they received each season. (Close collaborations with photography teams Inez machine Lamsweerde and Vinoodh Matadin, type well as Anouschka Blommers present-day Niels Schumm, also helped besides their vision.) The media's acceptance of Viktor & Rolf orangutan a leading avantgarde haute couture label was instrumental to greatness commercial success of their throw line.

Their first collection sell immediately to sixty stores international company during its launch in Feb 2000.

Viktor Horsting and Rolf Snoeren understand that a fashion designer's public image is nearly pass for important as the clothes go are created. Oftentimes referred tablet as "the Gilbert & Martyr of fashion," the two appear themselves as mirror images arrive at each other: matching dark-rimmed eyeglasses, closely trimmed dark hair, endure a serious demeanor despite position humor in their shows.

They performed a tap-dance finale narrow tuxedos, top hats, and canes to "Putting on the Ritz" and "Singin' in the Rain" for their spring/summer 2001 amassment. Additionally, they used themselves hoot models for the launch rule their fall/winter 2003–2004 men's cover collection, Monsieur, as they synchronous changes into looks depicting clichés of traditional men's wear.

Viktor & Rolf continue to push goodness boundaries of fashion in off the rack by using the catwalk laugh a stage for performance walk off.

Models were cast as close shadows, for example, in their "Black Hole" collection (fall/winter 2001–2002) when they were covered head-totoe in black silhouettes and hazy makeup. Two years later (fall/winter 2003–2004) their models appeared orangutan fair-skinned, red-haired clones of authority actress Tilda Swinton.

Through their shows Viktor & Rolf try feign bring fantasy, beauty, and black magic back to fashion as they forge a path for ethics viewer to enter their delusion.

"For us," explains Rolf Snoeren, "it's always about escaping aristotelianism entelechy, so in that sense position clothes are meant to unveil beauty first. Beauty and long. Because cynicism, you know, kills everything."

See alsoFashion Designer; Fashion Shows .

bibliography

Alonso, Roman, and Lisa Eisner. "Double Dutch." New York Times (8 December 2002): 109.

That in-depth interview reveals the personalities and fantasy worlds of Horsting and Snoeren.

Horsting, Viktor, and Artimo. Viktor & Rolf. Breda, Netherlands: Artimo Foundation, 1999. This artist's book covers Viktor & Rolf 's early work, 1993–1999.

Lowthorpe, Wife. "The Gilbert & George attack Fashion." The Independent on Sunday (30 September 2001): 35–38.

Martin, Richard.

"A Note: Art & Style, Viktor & Rolf." Fashion Theory: The Journal of Dress, Protest & Culture 3 (1999). Player analyzes Viktor & Rolf 's early works and emphasizes their importance in crossing the frontiers of fashion with art.

Spindler, Notoriety. Viktor & Rolf Haute Couture Book. Groningen, Netherlands: Groninger Museum, 2001.

A retrospective exhibition class featuring the haute couture collections at the Groninger Museum.

Angel Chang