As well as their cited influence of medieval symbolism, Viktor & Rolf's autumn/winter 2011 collection brought to mind some unexpected references: the uakari, an endangered red-bald-headed monkey and the traditional Japanese art of origami.
A creaking drawbridge set the mood for Viktor & Rolf's autumn/winter show entitled Battle for the Sun. Backstage, the design duo explained they felt "compelled to create an army". Their cited inspiration lies in iconic medieval symbolism: knights, crusaders, and uniform dress. Historically, the knight was one of three types of fighting men during the Middle Ages (the others being foot soldiers and archers). Traditionally they wore a helmet with hinged metal visor and a linen shirt, pants and heavy woolen pads under layered plates of metal. For further protection, a shield, normally decorated with a family emblem or crest. Viktor & Rolf presented their own interpretation of this traditional uniform – their "modern armor" making use of tough fabrics such as heavy felt, bonded suiting, sculpted leather and tuxedo wool. Softer silk dresses were embroidered with a large rose-and-cross motif. Even the striking colour palette – red, white, black and metallic grey – was synonymous of battlefields and heraldry.
One of the most notable aspects of the collection was the beauty treatment courtesy of Pat McGrath, explored in AnOther's exclusive film by KT Auleta. All of the girls had their faces painted red using theatrical cream, accentuated with tangerine blush and black eye make-up. This is isn't the first time the Dutch designers have painted faces (black faces, hands and legs for the Black Hole collection for A/W01); preceded by Vivienne Westwood's blue faced girls for A/W 99. Make-up artist Pat McGrath explained the war paint look to AnOther: "We wanted a very literal interpretation of skin as though it had been filmed in a red filter stroke light – it's a very sexy, smoky eye and gorgeous skin, but photographed in red". Obviously not one of the designers or make-up artists' references but the look (complete with textured hair) certainly brings to mind the uakari, a small New World monkey with a red face, bald head and long coat. Their scarlet faces are due to the lack of skin pigments and plentiful capillaries that run under their facial tissue; the colour is a sign of good health and allows for the determination of a healthy mate.
Every design house has a trademark of some sort, be it a key item, distinctive detailing, recurring emblems and motifs or an irrefutable signature approach. With Viktor & Rolf, one of those is undoubtedly the oversized structured garments and powerful silhouettes they favour, executed with technical precision. There were plenty of examples in the A/W11 collection – fan-pleated arms, pinwheel-like shoulder details and delicate organza rolls. The intricate constructions can be likened to origami, the traditional Japanese art of paper folding which started in the 17th century.
The next Fashion Equation will be published in two weeks.
Research assistance by Yana Sheptovetskaya
Laura Bradley is the Commissioning Editor of AnOther and published her first series of Fashion Equations in May 2008. Tom Baxter is an illustrator currently living and working in London.
