Viktor & Rolf explore the romanticism of tradition, shown through archive nostalgia and partnership with Melissa Shoes 

10.02.2020 | Blog , Fashion | BY:

VPlastic and Paris Fashion Week Couture: there have been stranger partnerships, but Melissa Shoes’ collaboration with Viktor&Rolf certainly paired with aplomb. 

With Viktor&Rolf’s collection inspired by childhood memories of Laura Ingalls Wilder’s ‘Little House on the Prairie’ and Denise Holly Hobbie-Ulinskas’ eponymous 1970’s illustration character, Viktor&Rolf took a turn back to the archive for their fabric swatches, lending the collection a looser air: more romantic, more nostalgic.

Teamed with classic Melissa sandals in delicate shades of powder blue, white and pink, and bags imitating woven lace, Viktor&Rolf took a brave partnership and made it feel effortless.

Looking at the collection and discussing their decision to explore the archive, the symbolism of consideration for this season’s design process was at the helm. Historically, the technique of patchwork originated from frugal necessity: old clothes were cut up in patches and sewn back together in decorative patterns, in order to be used again. By reusing their high-end couture fabric samples in this way, Viktor&Rolf create a surreal paradox that underlines the beauty of imperfection. This collection highlights the creative principle of conscious design. Doing more with less; constraints providing a steppingstone for meaningful creation.

Their collaboration with Melissa Shoes further implied the importance of creative partnerships through working together, specialisation, and a relaxed nostalgia that reflected on past skills and how they can be integrated into today’s technological advances.

With Melissa shoes made from their signature vegan Melflex, and Viktor&Rolf’s emphasis on consciousness design, a deeper thoughtfulness and responsibility were takeaways from this collaboration at couture season.

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A More Travelled Dior Woman

05.07.2013 | Fashion | BY:

“I began by looking at women from different continents and cultures,” explained Raf Simons when talking about the recent creations he sent down the catwalk during couture fashion week. His third collection as artistic director of the infamous house was worldlier than its predecessors. “The collection evolved to be about Dior not just being about Paris and France, but about the rest of the world and how many fashion cultures impact on the house and on myself,” the Belgian designer added. These influences came from Europe, America, Asia and Africa and the collection itself was split into four, each lending its own culture to the beautiful designs.

Not only were we introduced to a more modern, multi-cultural Dior women but we were also introduced to Dior Haute Couture the way four very different, highly respected fashion photographers see it. Willy Vanderperre (The Americas), Terry Richardson (Africa), Patrick Demarchelier (Europe) and Paolo Roversi (Asia) were given their own nation to express and took photographs before the show, which were then projected above the catwalk as the models walked down the runway.

With a magnitude of embroidery, billowing silk and a plethora of silhouettes, now the Dior woman can be transported to the country of her choice when dressing for that special occasion.

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