At first glance, Viktor & Rolf’s Spring 2023 Haute Couture collection showcases a tame and rather traditional take on Haute Couture’s most recognizable facet; the ball gown. Yet, as the show advances through its first looks, we quickly discover the true nature of Viktor & Rolf’s “Late-Stage Capitalism Waltz.”
The collection showcases eighteen looks in total, putting Viktor & Rolf’s masterful skill set on full display while also exploring new areas of conceptualism and design. It’s no secret that Dutch designers Viktor Horsting and Rolf Snoeren have a recurring willingness to push the boundaries of silhouette, form and shape, and tulle. On their Instagram, they even mention that this Spring/Summer 2023 collection directly references their 2010 Ready-To-Wear Collection, in which they feature tulle dresses sliced sideways, poked through, and seemingly defying gravity. Fast forward to now, we see this mimicked: an excellently silhouetted ball gown becoming skewed, flipped upside down, rocked sideways, and worn a foot in front of the model. When mixed with the introduction of new technology, such as 3-D printing the inner structure of the gowns and the use of earpieces to provide instruction, we discover something innovative and exciting. It makes way for ridiculousness and absurdity– which is exactly what the designers were striving for.
Delicate tulle pastels, bows, embroidery, and sparkles afford an air of softness as the models float through the ballroom, as the exacting structure of the bodices and the punk rock glam allude to a sense of rigidity. However, Viktor & Rolf are not unfamiliar with these contrasting elements. In fact, we see it in many of their aforementioned Haute Couture collections; the use of delicateness and femininity plastered against a background of political or social commentary. Their Spring/Summer 2019 Show “Fashion Statements,” as well as their Spring/Summer 2020 Show “Patchworks,” outline this continuing aesthetic opposition and make for an interesting composition.
While watching this show, it’s difficult not to feel completely and entirely enraptured by the fantastical ridiculousness of the collection. As Viktor & Rolf were aiming for, it felt dream-like, in both magical and unusual ways. The fashion “ideal” is broken apart and fractured, on display for everyone to draw their own conclusions. For that, they hit the nail on the head. Yet, I felt as though the name “Late-Stage Capitalism Waltz” was a bit out of tune. While, yes, the name implies a sense of “alienation” and the essence of the illogical, it’s a bit odd to be using a title that doesn’t necessarily open a discussion about late-stage capitalism. Especially when, socially, the term is a nod to the upper-class unwillingness to recognize the struggle of those less privileged. While there is a level of absurdity present in that notion, and they attempted to use it to describe the industry’s limiting “standards,” it’s simply a bit tasteless. Rather, why are you naming something “late-stage capitalism waltz” when you aren’t making a strong commentary about inequality and the effects of capitalism and actually participate/cater to those who contribute to late-stage capitalism? Especially when the show is set in an incredibly high-end, almost five-star hotel in Paris, France. If they were to forego the title, the collection remains cohesive in its conception.
Regardless of the name, the entire show was surreal and incredibly strong. It’s always moving and intriguing to see a show and designer(s) who are hungry to make a shift in the industry and have fun while doing it.
Words by August Atkinson.
Graphics by Emily Strycharz.