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VIKTOR & ROLF

SURFACE DESIGN TECHNIQUES

Some refer to Viktor Horsting and Rolf Snoeren as the Gilbert and George of fashion, a comparison that goes beyond their twinned, bespectacled appearance. Since Viktor & Rolf began making clothes in 1993 after graduating from the Netherlands' Arnhem Academy of Art and Design, they have endeavored to blur the line between art and fashion. The Dutch duo's runway presentations are typically high on concept, showmanship, and wit. And like all good artists they can infuriate as well as delight. A few (out of many) examples of their unusual approach: an entirely topsy-turvy show with upside-down dresses and an earsplitting backwards soundtrack, a provocative all-black show (including the models' faces), and a presentation featuring, on a revolving turntable, a single model who was layered in look after look like a Russian doll.

VIKTOR & ROLF

Though early on they were known for wowing the fashion press
but not selling a stitch, Horsting and Snoeren have since tapped into their commercial potential. They made a move from haute couture to ready-to-wear in 2000, launched a perfume called Flowerbomb (and packaged it in a grenade-shaped bottle) in 2004, drew frenzied crowds for their collaboration with fastfashion retailer H&M in 2006, and opened a boutique on the Via Sant'Andrea in Milan. Earlier this year the pair sold a controlling stake of its business to Diesel owner Renzo Rosso. "We have high ambitions," Snoeren commented to The New York Times, which also reported their plans to open five more boutiques within the next few years. Nevertheless, their penchant for surrealism hasn't diminished: Their 15-year retrospective at London's Barbican Art Gallery, called The House of Viktor & Rolf, consisted of a gigantic dollhouse populated by 55 dolls, each wearing a Viktor & Rolf look re-created in miniature.

VIKTOR & ROLF

PRE FALL 2012


Where would Viktor Horsting and Rolf Snoeren be without their dolls? Dolls have inspired so much of their work as fashion designers that it would probably be sheer bliss for someone like Sigmund Freud to untangle the skeins that link them with Viktor & Rolf's concept of womanhood. But he'd never be able to accuse the duo of a lack of self-awareness. Yes, their new collection was inspired by dollsthis time, the porcelain-faced Victorian varietybut it was also inspired by Freud, who famously described the sexual life of an adult woman as "a dark continent." It was precisely that secretive quality that suck in the designers. From a business standpoint, that kind of studied, dressy oddness is what they feel their customers look to them for. From a creative angle, it gave the designers carte blanche to engage in one of their favorite pursuits: toying with silhouettes. They exploded and stretched and puffed and shrunk and draped. They fringed and ruffled, too. The result looked here and there like TheMagnificent-Ambersons-Going-Dutch, especially when velvet gigot sleeves and a cape of shaved rabbit fur put in an appearance

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A print of Victorian ladies could have been mug shots of Freud's patientsor Jack the Ripper's victims. And Viktor & Rolf Soir, the duo's new eveningwear capsule collection, was also very much in the fullmoon, funereal vein that was so accurately captured in the look book. Still, Snoeren insisted that what they stand for as designers is "unexpected elegance," and there were enough instances of that with these clothes that you can see why they keep showing up on red carpets. A padded gazar waistcoat stays in the mind. And something else Freud might have to concedethere's always a kernel of humor somewhere with Viktor & Rolf. The Victorian buttoned boot came with a dominatrix heel. Roll on, full moon.

VIKTOR & ROLF


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Techniques- Quilting on cape Materials- patent leather, cotton twill, poly silk. Process- quilting done using thin layer of foam around 1/4th inch thickness and sewn.

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Techniques- Swarovski crystals overlay on the shirt, jacket lapel fabric replaced by patent leather and quilted. Materials- patent leather, felt, cotton twill, blended cotton. Process Quilting done using thin layer of foam around 1/4th inch thickness and sewn. Swarovski crystals beaded and overlaid using heat locking from the back of the fabric.

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Techniques- Digital printing on the shirt. Varnished fleece on the jacket.


Materials- patent leather, cotton twill, poly silk. Fleece. Process- digital printing done using computer aided design techniques on the shirt. fleece varnished using to create a condensed fabric on the jacket.

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Techniques- Braiding of the fabric on the shirt sleeve. Materials- cotton twill, poly silk. Process- Braiding done by twisting the fabrics creating three loops interlaced together in a way to carry the edge further. After braiding stitched on the shirt sleeve.

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Techniques- burning out the fabric industrial method. Materials- velvet, poly silk. Process- burned using heat given to the fabric to take the warp out of it. paneled and stitched

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S/S 2012 RTW


It was blazing hot at Viktor & Rolf. Good thing they got the red face paint idea out of the way last season. Instead, the models wore a thick set of synthetic pink lashesthey were baby dolls, not knights. Dolls' clothes informed the girlish silhouettes, the stiff nature of the fabrics, the oversize lace prints, and the blown-up proportions of the stitching that held the clothes together. The naive quality of the lacing, as if it had been done by seamstress giants, worked on some of the pieces, including a bra top and a matching skirt as well as an A-line shift. Ultimately, though, it overpowered the show's prettier, simpler moments, such as the pair of metallic lavender lace dresses, one just below the knee and the other long to the floor. The designers seemed to let their concept get in the way of what grown-up women might actually want to wear. The models made their entrances and exits though the parted yards-long "skirts" of the singers of the pop duo Brigitte, who performed on a platform high above the runway. Horsting and Snoeren get points for that clever setup this season, but not for too much else.

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Techniques- Eyeleting and laced through it the fabric. Poly wrap effect on the lace fabric and embossed.

Materials- cotton twill, cotton lace. Lace fabric.


Process- Eyeleting done by punching chisels and fixing eyelets to it fabric laced through the eyelets in put and pull through manner.

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Techniques- Eyeleting, fabric laced through it the fabric, felted silk and varnished, Uneven box pleats. Materials- felted silk and varnished, cotton lace. Process- Eyeleting done by punching chisels and fixing eyelets to it fabric laced through the eyelets in put and pull through manner.

uneven box pleats fixed by eyelets

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Techniques- Eyeleting, fabric laced through it the fabric, frilled laced 1/4th inch length, ladder look type lace stitched on the princess panels Materials- poly silk, cotton lace. Process- Eyeleting done by punching chisels and fixing eyelets to it fabric laced through the eyelets in put and pull through manner. frill lace stitched to the sleeves hem lines.

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Techniques- cotton net sandwiched between the two layers of fabric, katagami technique. Materials- poly silk, silk felt, cotton net, piping. Process- cotton net sandwiched between the two layers of fabric and piping done. fabric cut with lasers or stenciled (katagami)

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Techniques- Eyeleting, fabric laced through it the fabric, Swarovski crystals fixed to the fabric. Materials- poly silk, cotton lace. Process- Eyeleting done by punching chisels and fixing eyelets to it fabric laced through the eyelets in put and pull through manner.

crystals sewn to the surface in diamond shape.

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S/S 2011 RTW


The idea Viktor Horsting and Rolf Snoeren had for Springto riff on a man's shirtwas
a simple one, and timely, too, given all the recent talk about classic sportswear. What the Dutch duo put on the runway, however, was a collection of quite theatrical clothes. No surprise there, perhaps. It started with a banker's striped button-down, only it had been turned into a short shirtdress made from strips of embroidered blue ribbons withcount 'emfour collars and four sets of cuffs skipping up the arms. And it ended with a wedding gown that spanned the width of the runway, its skirts made from shirt tails and the bodice from starchy pearl-studded collars sticking out every which way, including up past the model's earlobes. There's a bridezilla joke in there somewhere, but we'll refrain from making it because other staples of a man's wardrobe also got the V&R treatment, and not always with such over-the-top results. A pair of shirtdresses, one side fitted, the other softly draping off the shoulder, could believably make the leap from catwalk to street. And there will be some clamoring among the pop-star set for poufy dresses inset with lace at the waist, down the side of one torso, or on the sleeves. But the look that had everyone talking was an understated white shirt cropped at the waist with its tails extending into a train. It was paired with plain black pants, and it'd actually make a great wedding outfit for the kind of bride who buys Viktor & Rolf's commercial collection not for its camp humor, but for its sharp tailoring. It made you wish they'd put more of the latter on the runway today.
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Techniques- silk frills stitched to the surface. Materials- pure silk, blended cotton fabric. Process- silk frills stitched in the center of the fabric and placed in vertical manner.

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Techniques- silk frills stitched to the surface. Couching on the edge. Materials- pure silk, blended cotton fabric, varnished velvet. Process- silk frills stitched in the center of the fabric and placed in vertical manner. Velvet varnished

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Techniques- varnished velvet surface. Couching on the edge. Materials- organza, blended cotton fabric, varnished velvet. Process- silk frills stitched in the center of the fabric and placed in vertical manner. Velvet varnished

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Techniques- fabric petals stitched with the fabric

Materials- pure silk, blended cotton fabric, net. Process- small fabric petals stitched on the net fabric.

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Techniques- Swarovski crystals fused on the leather, cut out work. Materials- pure cotton, leather, Swarovski crystals. Process- Swarovski crystals beaded and overlaid using heat locking from the back of the leather. laser cut of the leather.

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F/W 2011 RTW


A drawbridge came down and we were in the Middle Ages at Viktor & Rolf. The Dutch designers took cues from knights' armor this season. The show unfolded as a joust between black and ecru, with many of the outfits coming down the runway twice, once in each color. Clever, but not necessarily all that creative. The models' faces were painted blood red, but the stiff fabrics (felted wool, sculptural leather) looked practically rapier proof. No real blood was spilled, although it might've been if the round frills that decorated the shoulders and the ruffles that stood up several inches from the arm seams of the jackets had been actual metal. Playing damsel to the knights in shining armor were a couple of pretty sweaters with rose intarsia's. These were worn with kiltlike pleated skirts and unstructured dresses that looked like crusaders' flags. Viktor Horsting and Rolf Snoeren are consummate tailors. Strip these clothes of the theme-y trappings and you could just about make that out.

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Techniques- cut and stitch knife pleated wool felt.

Materials- wool felt.


Process- the felt fabric has been cut and stitch to make the steps like effect.

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Techniques- cut, stitch and spread, quilting. Materials- wool felt. Process- The felt fabric has been cut, stitched and spread to make the circular like effect. Quilting done using thin layer of foam around 1/4th inch thickness and sewn.

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Techniques- appliqu, chain stitch.

Materials- viscose single jersey, interlocked double jersey, blended cotton.


Process- Fabric rose cut out stitched on the fabric. chain stitches to weld the edge.

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Techniques- wide cut frills

Materials- viscose single jersey, blended cotton fabric.


Process- Fabric pieces cut wide and stitched on the surface of the shirt.

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Techniques- wide cut frills, Swarovski crystal beads sticked on some of the frills. Materials- Swarovski crystals, poly silk. Process- Fabric pieces cut wide and stitched on the surface of the shirt. Swarovski crystals beads sticked to the panels using the heat set techniques.

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Bibliography
www.viktor&rolf.com www.style.com www.google/images.co.in http://rackreader.blogspot.in/2010/02/brand-profile-viktor-and-rolf_15.htm

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