Perhaps the mark of true genius is withstanding the testament of time; in that case, Viktor & Rolf's Fall 2008 collection deserves to be ranked amongst fashion's greatest moments. I've seen more runway shows than I can remember, but I still haven't found one remotely comparable. Due to the ephemeral nature of fashion, anything a few seasons old is liable to be hopelessly outdated. Yet three years later (a.k.a. a millenium in the sartorial world), this presentation still feels avant-garde and futuristic. It maintains an innovative quality due to its originality; despite its modernity, it avoids the familiar pitfall of "trendiness." Unconventional and extreme, the collection forwent the stamp of approval for a resounding statement. And what a statement it was. There were no flashing lights, elaborate set, or ostentatious theatrics. Instead, Viktor & Rolf utilized the pure, unadulterated power of minimalistic severity to the utmost. An all-white runway served as an immaculate canvas for a stark, striking collection, while an oversized wax seal bearing "V&R" was the only indication of the designers' names. The word "NO" was woven into the seams of the show, literally, from clothing to soundtrack to cosmetics. The design duo explained that it was a reaction to the fast pace of fashion, yet on a hopeful note, they closed with garments that read "dream on." Impact was the theme of the makeup as well as the message. An army of extraterrestrial amazons marched militaristically in slicked-back ponies and glossy cherry lips, eyes glowering beneath heavily kohl-rimmed lids. An acoustic soundtrack of fast-paced techno mixed with a chorus of "NO"s might have been hard to execute, but it proved an integral element; the dynamic rhythm and cutting edge vibe set the atmosphere for the entire show. The models were as fitting as the music and makeup; in a superb casting, the design duo chose a star-studded team that highlighted the clothes first and foremost without morphing into nameless waifs a la Calvin Klein. In particular, Horsting and Snoeren made excellent selections for the beginning and finale. Dramatically delineated in stark profile beneath the V&R stamp, opener Magdalena Frackowiak cut an imposing (and odd) figure in a coat emblazoned with pop-out letters. Facial expression unwavering and upper body robotically stiff, she strode mechanically as if in a trance, authoritative strut syncing flawlessly with the backbeats. With her severe bone structure and androgynous jaw, she proved the perfect combination of mainstream runway (exemplified by Natasha Poly) and edgy quirkiness (think Ranya Mordova or Alla Kostrometichova). Yet no other model simultaneously epitomized and electrified the show like Irina Kulikova, who rocked the final look. With her towering frame and alien-like features, the 6'+ Russian stunner stood head and shoulders (literally) above the rest as she glided down the catwalk in an asymmetrical column dress, "NO" flaring from the front in layers of curiously starch chiffon. Though the closing number may not have been the most daring, its simplistic impact could not be overlooked. The rest of the garments were fearless in their exaggerated silhouettes, from 3-D foam letters to ruffled collars and fantastically puffy shoulders. Instead of distracting, however, their over-the-top character was exactly what constituted their appeal. In other words, it was high fashion at its finest. Critics *cough cough Style.com* may have complained that such efforts were gimmicky, but they've clearly forgotten that fashion is more than just the clothes. It's about an image, an idea, a sentiment. And Viktor & Rolf captured that perfectly.
I know I've been posting old stuff lately, but this is too good to overlook. Throbbing techno and gothic minimalism set the stage for Nicola Formichetta's fall showing for Thierry Mugler. The clothing was relatively simple, but the atmosphere made it spectacular. The striking paradox of ornate (pillared runway, ostentatious poses) and simplicistic (sleek ponytails, austere ensembles) meshed seamlessly with Mugler's darkly modern aesthetic. The random appearance of Lady Gaga, surrounded by a halo of red light as she took a drag on her cigarette, was surprising (yet strangely symbolic). So, too, was her ability to strut in ten-inch heels on a slippery surface where even professionals seemed shaky (although I suppose she has a lot of practice from those Alexander McQueen shoes).
Gaga certainly stood out amongst Formichetti's elegant, shadowy wraiths, who glided down the catwalk with willowy arms beckoning amidst arching wood columns. These were no Christian-Dior-clad princesses or buxom Louis Vuitton housewives. Mugler's authoritative women walked with purpose (despite a few stumbles). Yet Formichetti didn't equate power with masculinity. These women owned their sexuality, flaunting pushed-up cleavage in low cut necklines and tight mesh shirts. No other collection so perfectly epitomized the modern-day urban woman - confident, street-savvy, and unapologetic in her femininity. A certain blonde, sailor-mouthed singer would wholeheartedly approve.
Gaga certainly stood out amongst Formichetti's elegant, shadowy wraiths, who glided down the catwalk with willowy arms beckoning amidst arching wood columns. These were no Christian-Dior-clad princesses or buxom Louis Vuitton housewives. Mugler's authoritative women walked with purpose (despite a few stumbles). Yet Formichetti didn't equate power with masculinity. These women owned their sexuality, flaunting pushed-up cleavage in low cut necklines and tight mesh shirts. No other collection so perfectly epitomized the modern-day urban woman - confident, street-savvy, and unapologetic in her femininity. A certain blonde, sailor-mouthed singer would wholeheartedly approve.
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