Architecture Meets ... the Viktor & Rolf Spring 2010 Collection

Fashion is as much about architecture as architecture is about what's fashionable. The old Louis Sullivan adage "form follows function" seems a bit out of date in today's times. Now, design is as much about form as it is about function. While a building or a dress should surely be fitting to the user and be usable, the way it looks and feels is just as essential to the overall purpose. That is what this multibillion dollar industry known as 'fashion' is really about - the melding of form into everday function.

And few designers know form as well as the dynamic duo of Viktor & Rolf who, since the early 90s, have been pushing the envelope in their designs, creating never before seen silhouettes and dramatic structures in their clothing. Their Spring 2010 Collection is a wonderful example of how the pair inadvertantly drew inspiration from architecture's own striking shapes. Taking actual chainsaws and hacking away at mounds of tulle may seem a bit, er, unconventional, but if this brand is known for anything, is it not convention. In effect, they created some truly stunning forms that may be a bit 'out there' for eveningwear, but are surely visible in modern architecture. Their idea of destruction goes hand in hand with the deconstructivist aesthetic - manipulation of traditional forms into fragments and nonlinear elements. It is the negative space, what is not there, that stands out the most.


The first photo shows a look from the collection that is all about angles. The sharp peak of the dress is not unlike the jagged forms found often in Daniel Libeskind's work. The juxtaposed building is his 2001 Serpentine Gallery Pavilion in Ireland. Here, we see the same sharp, imposing angle as in the gown - unexpected, deep and loud. The second gown with the spherical tiers resembles the renown Syndey Opera House almost to a T. Scalloped, cascading levels draw the eye downward as each edge is defined by a sharp retreat and reappearance. The third gown is a prime example of how negative space can ironically become the focus. The holes and missing portions cut into the tulle create an effect similar to Makoto Yokomizo's tower in Tokyo, accented by the spherical absences in the facade. High fashion and architecture seamlessly melded together. Well done, V&R.