32 posts tagged "Viktor & Rolf"
At their couture comeback in January, Viktor & Rolf wrapped up the show with a surprise reveal of their spring fragrance launch. Above the catwalk appeared a supersized image of model Edita Vilkeviciute, shot by Inez & Vinoodh, wearing nothing but body paint, holding a bow-shaped bottle of Bonbon. “We liked that her skin was becoming clothing in a way,” said Viktor Horsting. “She’s nude but she’s not. She’s dressed in paint. Her skin becomes like a garment. It was a [conceptual] way of saying that perfume could be worn like a garment.” The body art alone took about twelve hours to apply. The couture collection likewise had blurred the lines between skin and clothes, with tattoo-like embellishments such as ruffles and bows hand-painted over flesh-tone latex dresses.
For their latest fragrance, V&R began with an icon from their own lexicon: the bow. “The thing is, a bow doesn’t smell,” noted Rolf Snoeren. “So we started thinking of candy wrappers and bonbons, because they are like bows. And they smell [good].”
To hit the right note, they began by literally raiding candy stores. Working alongside perfumers Serge Majoullier and Cécile Matton, the design duo brought every kind of candy they could get their hands on into the L’Oréal Paris headquarters. “That was a fun exercise. We tested chocolates, caramels—all kinds of sweets. But we immediately became addicted to a specific caramel note. The buttery note of caramel was very sexy,” said Snoeren. “Sweet but also sexy. Grown-up.”
Once Viktor & Rolf zeroed in on their “couture” accord, Matton and Majoullier spun the original idea of candy into an olfactory ode to pleasure. “There are so many directions you could go,” observed Horsting. “We wanted something luxurious. The name might suggest girliness, but it had to be grown-up. It’s not a game of seduction. The attitude is more about being at ease, about self-indulgence and empowerment.”
Although the fragrance at first seems nearly edible, it is anything but facile. “It was important to not just create caramel-à-porter,” explained Matton. “We took the gourmandise aspect to the extreme.” Adds Majoullier, “The tricky thing about caramel is that you have to dress it up without concealing it.”
The perfumers went about addressing the challenge by declining to use patchouli, for one thing. Said Matton, “We were inspired by variations in texture. The caramel changes as the perfume evolves: It’s crackly on top, creamier at the heart, and more concentrated at the base. There’s a clothes-like structure—it’s a representation.”
Ultimately, the Bonbon caramel ventured into a more woody, sensual terrain, rounded out by a sprinkling of fruity notes to break up its richness. The fragrance opens with sparkling notes of mandarin and “Paradise peach,” warming into a sunny jasmine and orange blossom heart before settling into a gently overcooked woody amber base with notes of gaic and cedar.
“Bonbon is not for any one woman,” offered Horsting. “[It’s the same with] Flowerbomb, which had such fantastic reach. We don’t want to create limits.”
To meet Viktor Horsting and Rolf Snoeren (and spritz Bonbon) in person, head to Saks Fifth Avenue in New York City on April 17 from 5:30 to 6:30 p.m.
The “one, two, three” braid—it’s a plait hair pro Luigi Murenu has been making a case for this season. We saw a similar look at Emilio Pucci, but here he lost the elastic in favor of a more disheveled, “last moment feeling.” To achieve the dry texture, he worked Kérastase Mousse Bouffante through strands before blowing them dry and employing a curling iron for texture. Then he divided the length into three sections and wove them loosely together near the nape, finishing with a generous amount of hairspray to ensure plenty of hold. Forgoing the band was a feat in and of itself, and the finished product perfectly complemented the designers’ more accessible offerings.
Pat McGrath kept the makeup equally as attainable. Aside from beautiful skin, a slight flush, and “rich” brows, only a gray-brown shadow was washed around the eyes. “It looks like the street in there,” she said of the show space located in the Jardin des Tuileries. “The girls should just look like they are simply walking down the street.”
The professional ballerinas from the Dutch National Ballet who presented Viktor & Rolf’s Couture show moved softly, en pointe—more than gliding, it felt like they were floating. That idea of movement translated into couture week’s most conceptual beauty moment: Mane master Luigi Murenu captured the emotion by veiling dancers’ faces behind crimped, highly textured hair. “They look almost like clouds, like a surrealist work by [Argentine painter] Leonor Fini,” Murenu said backstage before the show. To set the style, the pro reached for Kérastase Laque Couture hairspray. “It’s medium hold, but it fixes hair well enough that you can still keep brushing it,” he explained.
Although mostly obscured by their strands, the dancers’ complexions were highly sculpted in foundation shades that echoed the pale hues of their outfits, punctuated by this season’s major statement: the winged eye. “There’s a slight reference to dance, but it’s really all about the face, about paling out the skin to match the clothes,” said Pat McGrath. “We’re playing with highlights and creating an illusion—even though you won’t really be able to see it [onstage].”
After the show, Viktor Horsting and Rolf Snoeren served pink champagne and chocolates in honor of a surprise reveal of the campaign for their forthcoming fragrance, BonBon.
Observant members of the audience at Viktor & Rolf’s show this weekend likely noticed something recognizable dangling from a few models’ wrists. There, among the tightly edited collection of black and white pieces, were black and white accessories in a strikingly familiar shape. Were those Flowerbomb bottles in minaudière form, the astute guest may have asked? And the answer, it appears, is yes. The house used its Fall presentation to introduce the Flowerbombette, a clutch that takes its faceted form from the grenade shape of V&R’s best-selling perfume bottle. It’s available in lacquered ebony and glossy ivory, so now you can wear the sambac jasmine, centifolia rose, and patchouli eau—and accessorize with it, too.
Once showgoers got over the shock-and-awe of Viktor & Rolf’s relatively shock-and-awe-free collection, they likely shifted their focus from the unusually wearable clothes to the equally wearable—and downright beautiful—hair and makeup. “It’s pretty, non?” Luigi Murenu asked, looking over a gorgeous interwoven coronet. “It’s innocence and youth for once,” he joked—a remark that he, of all people, is more than qualified to make. As the design duo’s longtime coiffing collaborator, Murenu has been a part of his fair share of backstage heroics here that have included braids in the past, an apparent soft spot for monsieurs Snoren and Horsting, but braids that are almost always paired with something extreme (Fall 2011′s allover red faces immediately come to mind). This season, Pat McGrath’s “fresh, young, and finished” blush-colored lids and contours made the soft, texturized plaits Murenu treated with Kérastase Nutritive Mousse Nutri-Sculpt seem that much more accessible—and instantly covetable. Full disclosure: We tried to replicate Murenu’s center-parted, crisscrossing inverted French braids (also called Dutch braids, which is appropriate for the Amsterdam-based fashion house) this morning with little success. But, as they say, “If at first you don’t succeed, try try again”—and watch as many YouTube tutorials as you can find online.