Viktor & Rolf turns 30, Zuhair Murad designs costumes for a gothic drama

From midday on Wednesday 5 July a crowd gathered in front of Wagram Hall. Transformed into a giant catwalk for the occasion, the famed Parisian concert hall welcomed guests to the Viktor & Rolf Haute Couture show, which included an elegant celebrity parterre. These included Camila Cabello, who attended several events this week, British FKA Twigs and Colombian Shakira, who wore a basic white look with a neckline formed by raised letters to form the word “NO”, a nod to the 2008 model. There was reinterpretation. House.

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For its 30th anniversary, the Dutch brand has unveiled a one-of-a-kind collection, in line with its sharp sense of humor that always manages to impress. And the public had high hopes for the brand, as the inverted costumes from the previous show had created a sensation on the web.

The duo created by Viktor Horsting and Rolf Snoeren lived up to the public’s expectations, with creations that took on a new artistic challenge: reinterpreting a 30-year career with a haute couture show made up of small creations, designed with the use of I went. As little fabric as possible.

Offering suggestive lingerie, openwork bodysuits and casual swimwear, the collection was conceived starting with elastic materials that sculpt the silhouette on the body, at the antipode of the voluminous tulle, crepe and silk to which the Dutch designer has accustomed us Are.

Designing and making the costumes was a real challenge. Full of originality, the costumes re-enacted the ironic universe of the house, especially in looks with messages constructed with capital letters (such as “Dream” or “I wish you well”) and reimagined classic suits. Some models also paraded by hanging headless costumed puppets around their necks or hips, representing anonymous men. The most photographed look came at the end of the show, with five costumed puppets on top of a model, which was as humorous as it was critical.

Most bodysuits adopted a bustier shape and were decorated with the company’s usual references: bows, which some sculpted the silhouette or neckline, and even an asymmetric cut to create a full black look. Flowers have been affixed as small details and the shoulder straps have been raised. Some of the underwired looks reference classic corsetry, while copper and purple satin fabrics give off a cabaret vibe, like long gloves. A hooded frilled cape, oversize structured bikini and even a double swimsuit in nude or colored versions completed the collection, which certainly didn’t lack for spice.

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At the end of the show, both designers came out dressed in identical tuxedos with oversized bow ties to greet their happy guests.

A few minutes later, the spectacular ballet of the Haute Couture fashion show continued around the Arc de Triomphe, at the very elegant Potocki Hotel at 27 avenue Friedland. Lebanese designer Zuhair Murad often chooses this venue for his productions.

Confirming a trend already seen during the other fashion shows participating in this year’s Paris Haute Couture week, Zuhair Murad has kept its identity faithful to its core and completely recognizable, but softened it. The volume is expressed through cuts with more calm, and less loaded compositions. With embroidery and precious stones. The lace silhouette comes with a pleated and draped look.

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Titled “Midnight Scent” (“Midnight Fragrance”, version), the collection featured mysterious femme fatales, seductive vampires and gothic princesses. Semi-transparent embroidered dresses are worn with lace inserts, velvet blazers pierced at the waist, gauzy veils and ostrich feather embellishments. The drama of proportion was still present with long flowing trains, long skirts made of organza flowers, cascading flounces over the shoulders and short jackets inspired by flowers.

More classic silhouettes, which combine a bustier with a side slit skirt, are followed by looks designed specifically for the red carpet, such as spider web or tulip-shaped embroidered mini-dresses to be recreated. Semi-transparent jumpsuit embroidered with projecting crystals. Some items are more casual but made with extreme couture knowledge, like a long black coat embellished with shiny tarantulas, or a draped skirt worn with long gloves and a lace top.

The color palette for Zuhair Murad was somewhat nocturnal, darker than usual. Touches of white surrounded the ever-present black, red and deep purple hues. The make-up was intentionally light, with dark red lips in line with the black widows portrayed by the stylists.