Viktor & Rolf

Viktor & Rolf Celebrates Anniversary Teaming Up With Superga

Viktor & Rolf Celebrates Anniversary Teaming Up With Superga

BIRTHDAY SHOES — To mark its 30th anniversary, Viktor & Rolf is unveiling a collaboration with Italian shoe company Superga. 
For the occasion, Viktor & Rolf reinterpreted two of Superga’s signature models, the 2790 and the 2708 high-top sneakers in a limited-edition capsule featuring the brand’s recurring elements — the bow and the couture flower. 

Both sneaker versions are completely covered in satin with tone-on-tone details. At the back of the rubber sole, the Viktor & Rolf logo sits on a rubber patch.

The 2790 platform sneaker presents a satin bow that adorns the front of the shoe, while the 2708 high-top sneaker has, as couture decoration, a cascade of hand-sewn flowers made from satin and organza with Swarovski crystals. 

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The brand is designed by Viktor Horsting and Rolf Snoeren, and earlier this month presented its fall couture collection during Paris Couture fashion week.

The limited edition capsule collection by Superga and Viktor & Rolf marking the fashion house’s 30th anniversary.

Courtesy Image/Marijke Aerden

The Viktor & Rolf’s Superga collaboration is available for purchase on the former brand’s website.

Prices range from 300 euros for the satin bow low-cut available in pink and in white, to 350 euros for the Hi Top Flowers, available in black only.

Superga is not new to collaborations. Recently, the shoemaker label teamed up with the “Barbie” movie for a capsule collection in honor of the much-anticipated film, which will open in theaters on July 21. 

Superga has a long history of making footwear. It was founded in 1911 in Turin, Italy, when shoemaker Walter Martiny first started making rubber-soled footwear for local farmers. More than a decade later, the company created its famous 2750 model that became very popular.

In 1951, the company merged with Pirelli Tire Company to increase production. But in 2004, Superga was acquired out of bankruptcy by Basic Net SpA.

The limited edition capsule collection by Superga and Viktor & Rolf for the fashion house’s 30th anniversary.

Courtesy Image/Marijke Aerden

Listed on the Italian Stock Exchange since 1999, Basic Net also controls brands such as Kappa, Robe di Kappa, Jesus Jeans, K-Way, Sabelt, Briko and Sebago.

These Topsy-Turvy Couture Gowns Just Upstaged Kylie Jenner’s Divisive Lion Dress

These Topsy-Turvy Couture Gowns Just Upstaged Kylie Jenner’s Divisive Lion Dress

It’s been quite the eventful week so far in Paris at the haute couture shows, from Apple Martin – daughter of Gwyneth Paltrow and Chris Martin – making a surprise appearance on the front row at Chanel, to emerging designer Miss Sohee debuting an off-schedule collection that sent the fashion set into a frenzy. Let’s not forget, also, the divisive animal-inspired looks (man-made, of course) at Schiaparelli, which Kylie Jenner also wore to show support. However, Viktor & Rolf may have just topped the list of unforgettable moments with its latest show.
At the Intercontinental Le Grand hotel in Paris, Viktor Horsting and Rolf Snoeren showcased a collection of head-turning looks that were their most meme-worthy yet. The show began with a handful of breathtaking tulle dresses in the most delectable confectionary hues. But as the show progressed, the dresses started to appear in the most bizarre positionings – from appearing slightly lopsided and with a bustier placement right up to the model’s neck, to being entirely sideways, as well as upside-down and covering the face. With certain looks, it seemed as if the model was carrying the dress while wearing undergarments.
In previous seasons, the design duo have brought out some joy-inducing moments on the runway, whether it’s the kooky doll heads from fall/winter 2017, or the meme-inspired gowns from spring/summer 2019, emblazoned with giant slogans (“No photos, please”). As always, a touch of light-heartedness is extremely welcome at couture fashion week.
Originally published on
Read Next: Paris Couture Week SS 2023 Day 2: All the Highlights You Missed

Eye Spy at Couture Fall 2021

Eye Spy at Couture Fall 2021

Eyes dressed up in colorful hues had a moment during the recent winter 2021 couture season.
For Armani Privé Couture, Linda Cantello swathed models’ eyelids in an eggshell blue.
“Mr. Armani wanted something playful and optimistic, so the idea of pastels on the eyes was both a wink to classic couture but also using pastels in a chic way and moving away from omnipresent dark eye makeup,” said the international makeup artist for Giorgio Armani Beauty. “The blue was Mr. Armani’s idea, and it did have me stumped as he said he wanted ‘the blue of Italian sugar bags.’ Luckily, I have an Italian assistant, so that helped a lot.”
To conjure up ideas for the beauty look for Alexis Mabille’s couture presentation, the designer presented makeup artist Lloyd Simmonds the clothes and set for the video and photos.

“My first reaction was that I needed to create something graphic and sharp to unify the different geometries of the clothes,” said Simmonds. “Secondly, I needed to use color in a simple way to intensify each girl in the brightly colored background.

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“I thought it would be good to use eyeliner to tell the story,” Simmonds continued. “So I created a classic eyeliner shape, but instead of black, I used two different, contrasting colors to create that classic winged eyeliner. Each girl had her own colors that worked with her part of the collection. I wanted to keep it simple, modern and relatable, but still impactful, to play off the extravagant shapes of the collection.”
Peepers popped at other brands’ displays this season, too, such as Off-White, Schiaparelli, RVDK Ronald Van Der Kemp and Viktor & Rolf.
For more, see:
Kerby Jean-Raymond Makes History With Pyer Moss Couture Debut
The Future of Makeup, According to Anastasia Soare, Sir John Barnett and Laney Crowell
Makeup Artist Violette Teams Up With Bisous Skateboards

All the Highlights from Day Three of Paris Haute Couture Week Fall/Winter 21-22

All the Highlights from Day Three of Paris Haute Couture Week Fall/Winter 21-22

Marking one of the most exciting moments on the fashion calendar that we’ve experienced in a long while, the third day of paris haute couture week was was turbocharged with show-stopping looks by designers.
Read on for more highlights from day three of haute couture week and check back for more updates.
Zuhair Murad

Loyal to his cuts and style, the designer had a royal army collection as his first comeback show. The dazzling collection of evening gowns is a heartfelt tribute to Venice, a city with a history of resilience and bravery.
Elie Saab

The collection, an ode to blooming flora, sees new shapes and techniques with light textures and volumes. Combining bold colors with light pastels, each gown is sewn with flower patterns that symbolize the hope of a better tomorrow.

With a debut couture show of creative director Demna Gvasalia and the brand’s first in 52 years, the collection borrowed references from its archival roots and proved that it is more than a streetwear brand. The collection was clean, impactful, and reminiscent of the old good days of fashion.
Jean Paul Gaultier

Creative as always, Jean Paul Gaultier unfailingly manages to have avant-guard silhouettes. Returning to couture under a new designer, Sacai, the new line followed traditional upcycling and hybrid construction techniques while incorporating bold experimentation every step of the way.
Viktor & Rolf

The collection is reflective of regal structures and hierarchies, likening those of royals to the fashion system with its ranked seating charts. Always with a touch of humor, but always on point and always as loud and creative, the duo doesn’t stop to amaze.
Read Next: All the Highlights from Day Two of Paris Haute Couture Week Fall/Winter 21-22

Cover Story: Celebrating Enduring Couture That Continues to Thrive in an Era Rocked By a Pandemic

Cover Story: Celebrating Enduring Couture That Continues to Thrive in an Era Rocked By a Pandemic

Just like a century ago, when haute couture persisted through world wars, it continues to thrive today in an era rocked by a pandemic – albeit forever changed.
Malika El Maslouhi wears dress, shoes, Iris Van Herpen; headpiece, Iris Van Herpen X Casey Curran; nail artwork, Iris Van Herpen X Eichi Matsunaga. Photographed by Thibault-Theodore for Vogue Arabia
If haute couture had a patron goddess, she would have to be Demeter’s daughter Persephone, who cyclically died only to be reborn. As long ago as 1965, when what Diana Vreeland termed the “youthquake” was rattling the planet, the New York Times noted that “every 10 years the doctors assemble at the bedside of French haute couture and announce that death is imminent.” Around the same time, French actor Brigitte Bardot rejected Coco Chanel’s offer to dress her because haute couture – the bombshell complained – “was for grannies.”

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Bardot’s snub was understandable. Haute couture had been predicated on “older, outdated ideas,” Schiaparelli’s creative director Daniel Roseberry says. Chanel was a hoary 82 and haute couture itself – a government-controlled appellation – was more than a hundred years old. Though the antecedents of the haute couturier go back to Louis XIV in the 17th century, the French profession’s true founding father was Charles Frederick Worth, who in the 1800s introduced such novelties as the designer label and seasonal live presentations.
Malika El Maslouhi wears dress, Alexandre Vauthier. Photographed by Thibault-Theodore for Vogue Arabia
Though, like a fairytale enchantment, the maison Worth lasted one century, it was the venerable master’s spawn – the fantasist Paul Poiret, the functionalist Chanel, the purist Madeleine Vionnet – who ushered haute couture into the modern age. Persevering through the first world war, the Spanish flu, and the Great Depression, the French couturiers not only dressed “tout-Paris,” but also exported hundreds of millions of dollars’ worth of their coveted handsewn confections. “History teaches us,” Dior creative director Maria Grazia Chiuri observes, “that couture is extremely resilient and, above all, adaptable.” The second world war and the Nazi occupation of Paris, however, posed a nearly terminal threat to the industry. Vionnet’s vast operations closed permanently in 1939. Chanel shuttered her doors. Her rival, the avant garde Elsa Schiaparelli, escaped to the US. But the enterprising Lucien Lelong stayed open, defiantly thwarting Hitler’s grandiose scheme to transplant all of Paris fashion to Berlin or Vienna. So miraculous was the Lelong-orchestrated wartime survival of haute couture that in 1945, Diana Vreeland exhorted an assistant to return from Paris with a single fabric rose as evidence of the rarefied institution’s continued existence.
Malika El Maslouhi wears dress, Fendi Haute Couture. Photographed by Thibault-Theodore for Vogue Arabia
More than Vreeland’s handmade rose (probably from the fournisseur Guillet), what bloomed from the ashes of the second world war was a fecund garden of “women- flowers,” wrote Christian Dior, who founded his maison in 1946, all wearing sumptuous “skirts like petals.” Before long, the Dior empire accounted for three-fifths of all haute couture sales. The remainder came from the other fabled houses of haute couture’s post-war golden age – Fath, Dessès, Heim, Balmain, Griffe, Rochas, Balenciaga – whose workrooms were as intricately structured as their lavish dresses, and whose formidable directrices were as lofty as a ballgown’s price.
Malika El Maslouhi wears dress, Ashi Couture. Photographed by Thibault-Theodore for Vogue Arabia
Haughty personnel and intimidating invoices were just two elements of the old-school haute couture culture that drove legions of women in the 60s and 70s out of the storied salons and into brand- new, funky boutiques selling ready-to-wear. Yves Saint Laurent had initiated the pret-a-porter movement in 1966 with the opening of the first Rive Gauche store, on Rue de Tournon. Trendsetting shops, some as far afield as London and New York, soon usurped haute couture’s function as (in Viktor & Rolf’s words) “a laboratory of ideas and experimentation.” Predictably, by 1973, the doomsayers of Time magazine were reporting that the enterprise of haute couture was “breathing very hard.”
Malika El Maslouhi wears dress, Guo Pei Couture. Photographed by Thibault-Theodore for Vogue Arabia
As before, the rumors of haute couture’s extinction were greatly exaggerated. During the bullish decade of the 80s, Karl Lagerfeld revived the ailing Chanel empire with his cheeky reinterpretations of the house’s hallowed codes. And with a heady eleven francs to the dollar, nouveau riche Americans flocked to Paris on the Concorde, frenetically buying up whole collections and fervently embracing newcomer Christian Lacroix. Haute couture reclaimed its magical ability to serve – to invoke Roseberry’s metaphor – as a “love language” spoken between designer and client.
Malika El Maslouhi wears dress, Viktor & Rolf Haute Couture; earrings, Hugo Kreit. Photographed by Thibault-Theodore for Vogue Arabia
In the 90s, after a market crash, recession, and Gulf war had yet again incapacitated the industry, LVMH chairman and CEO Bernard Arnault played Prince Charming to haute couture’s Sleeping Beauty. Arnault’s ingenuity lay in transforming haute couture from an entity that served not just private customers, but a brand. A demographic even larger than Arnault might have calculated began participating in haute couture’s previously esoteric rites – viewing collections, judging them, sharing them, and buying spin-off, logo-emblazoned status items, via the proliferating digital platforms that propelled fashion into the 21st century.
Malika El Maslouhi wears dress, Viktor & Rolf Haute Couture; earrings, Hugo Kreit. Photographed by Thibault-Theodore for Vogue Arabia
Responding to the rapidly changing environment, the antiquated trade organization Chambre Syndicale de la Haute Couture morphed into the Fédération de la Haute Couture et de la Mode and safeguarded its future by modernizing its rules of admission, essentially unchanged since the time of Lucien Lelong. As a result, its roster of haute couturiers expanded from about 15 members in the early 2000s to 100 today. This updating of the bylaws has allowed many esteemed out-of-towners, such as Iris van Herpen, Elie Saab, Fendi (under Kim Jones’s direction), and Victor & Rolf to become “correspondent members,” and Guo Pei, with her new studio in Paris, and Christophe de Vilmorin, fresh out of design school, to become “guest members.” Rallying in the face of the pandemic and lockdowns this past January, 28 of the Fédération’s houses resourcefully presented collections during the three-day SS21 haute couture showings (albeit virtually).
Malika El Maslouhi wears Lion Vénitien Necklace, earrings in 18ct white gold set with diamonds, Chanel High jewelry. Photographed by Thibault-Theodore for Vogue Arabia
Paradoxically, rather than hamper designers, the limitations imposed by Covid-19 freed them to explore new formats and engage with artists in other media. “Covid forced us to break through traditional barriers and explore new ways of presenting our conceptual ideas,” say Viktor Horsting and Rolf Snoeren from Viktor & Rolf, whose creations addressed sustainability as well as the need for a “lighthearted escape into fantasy.” And, just as Elsa Schiaparelli, in the 1930s, enriched her own work by collaborating with Leonor Fini, Jean Cocteau, and Christian Bérard, so the present-day couturiers overcame Covid-induced constraints by merging their imaginations with the aesthetic worlds of filmmakers Anton Corbijn (Chanel), Nick Knight (Valentino), Matteo Garrone (Dior), and Christophe Tiphaine (Schiaparelli). “Fashion has always been the realm of the imagination,” Chiuri explains, “So it is natural for me to turn to a film format to express my project through visual stories.” For Roseberry, whose sensual collection was cleverly compressed into an Instagram-friendly three minute, 52 second video, the goal was “to create a format and a way of showing the collection that really lets the viewer experience it.”
Malika El Maslouhi wears dress, headband, earrings, rings, Dior Haute Couture. Photographed by Thibault-Theodore for Vogue Arabia
The pandemic may have simply accelerated an inevitable evolution. Viktor & Rolf plans to “become more digitally focused, creating content that caters to each platform.” Elie Saab foresees a “mix between smaller, less hectic, live fashion shows and digital content.” Twenty-four-year-old Vilmorin, who gave birth to his brand during lockdown, doesn’t even see a need for “all that mise-en-scène and spectacle” of a runway event. Says Roseberry, “It’s a total reset.”
Malika El Maslouhi wears dress, shoes, Jean Paul Gaultier Haute Couture. Photographed by Thibault-Theodore for Vogue Arabia
No longer a resource-draining marketing exercise, haute couture – the ultimate “slow fashion” – now has the capacity to turn a substantial profit, as robust economies around the globe generate new clients, whose fittings might even take place through Zoom. “Covid has made people rush less and appreciate more the value of things,” Saab reflects. Among the freshly minted devotees of the most extravagant finery on earth are the very young, and – in a development that the sybaritic Sun King himself would surely appreciate – men. Fendi, Valentino, and Vilmorin all showcased their offerings on male and female models. As Ralph Toledano, president of the Fédération de la Haute Couture et de la Mode, stated, “It seems that there are no longer any boundaries to couture.”
Read Next: Editor’s Letter: Why Our May Issue is Dedicated to the Highest Artistries and Haute Couture
Originally published in the May 2021 issue of Vogue Arabia
DOP and video editing Cheyne Tillier-DalyPhotographer Thibault-ThéodoreStyle Lisa JarvisFashion director Katie TrotterHair Charlie Le MinduMakeup Annabelle Petit at Wise & TalentedNails Lora de Sousa Creative producer Laura PriorProduction Weird Fishes StudioProducer Réda Ait Retouching Curro VerdugoAnalog operator Maëlle JoignePainter Damien CacciaStudio assistant Tom KleinbergStyle assistant Francesca Riccardi Set assistants Antoine Dugrand Castaignede, Amin Bidar, Thomas JardinProduction assistant Adélina Bichet ElzeyModel Malika El Maslouhi at Viva Model

If You Want Renzo Rosso’s Number, Get a Mentorship at OTB

If You Want Renzo Rosso’s Number, Get a Mentorship at OTB

MILAN — Renzo Rosso continues to support emerging talents around the globe.
The Italian entrepreneur will be part of the jury for the first edition of the Yu Prize, a competition organized by fashion investor Wendy Yu aimed at promoting emerging Chinese designers. The winner amongst the 16 finalists — comprised of At-One-Ment, Chen Peng, Danshan, Donsee10, 8on8, Garçon by Gçogcn, Oude Waag, Ming Ma, Redemptive, Shie Lyu, Shushu/Tong, Shuting Qiu, Susan Fang, Yueqi Qi, Windowsen and ZI II CII EN — will be revealed in April during Shanghai Fashion Week.
Along with being part of the jury, which counts a range of high-profile fashion personalities, such as designers Diane von Furstenberg, Giambattista Valli and Jason Wu, as well as Metropolitan Museum of Art curator Andrew Bolton and Fédération de la Haute Couture et de la Mode’s president Pascal Morand, Rosso, through his OTB group, will offer the winner a one-year mentorship. OTB, where Rosso sits at the helm as chief executive officer, is the parent company of brands like Marni, Maison Margiela, Diesel and Viktor & Rolf, as well as Amiri, in which the Italian group has a minority stake.

“I’m really happy to take part to this talent contest in China, which is becoming the biggest market for the fashion industry,” said Rosso. “I think it’s so important for a group like ours to be connected with the young talents, especially in such a fast-growing, stimulating country like China.”

According to Rosso, his group’s participation with the Yu Prize also gives it the chance to learn more about the Chinese local market and to show OTB’s loyalty to China.
As the entrepreneur revealed, the brands under the OTB umbrella are all growing extremely well in China. “The one that is really performing above expectations is Maison Margiela,” said Rosso, who has recently acquired 100 percent of the Jil Sander brand.
Rosso is certainly not new to talent competitions.
Previously with Diesel and then with OTB, the fashion entrepreneur was the first to sponsor International Talent Support, the contest holding its 19th edition in 2021 that scouted a range of names including Demna Gvasalia.
In addition, Rosso is the only Italian jury member for the annual ANDAM French fashion prize, which has increased the amount of its grand prize to 300,000 euros for the this year’s edition. Rosso has been president of the jury and mentor for the talent contest twice. Over the years, ANDAM had among its winners Martin Margiela, Viktor & Rolf’s Viktor Horsting and Rolf Snoeren, as well as Glenn Martens, who was named creative director of Diesel last year.
Rosso also took part in Camera Nazionale della Moda Italian’a Milano Moda Graduate initiative, giving visibility to the most promising talents at the Milanese fashion schools. In the past he supported the winners of the CFDA/Vogue Fund by financing the “Americans in Paris” project.
“Scouting and supporting young creatives has always been part of the DNA of OTB, where we have a talent acquisition team that every week is in touch with the most important fashion schools to organize meetings and mentorship programs,” said Rosso, citing for example Central Saint Martins in London, the Shenkar Institute in Tel Aviv, the Accademia Costume e Moda in Rome, as well as IED, Polimoda, Marangoni and Domus Academy in Milan.

Additionally, OTB develops continuous collaborations with prestigious universities, such as Politecnico in Milan, Ca’ Foscari in Venice and La Sapienza in Rome. “We also work with a range of local technical institutes, offering the classes with our managers, but also providing them with fabrics and materials to help the students’ developing their projects.”
Rosso is also personally involved in mentorship programs that over the years opened the doors of OTB to a range of talents, including Alexandre Mattiussi. “I give them my personal cell number and they can call me to ask me anything,” said Rosso. “Depending on the different talents, we create customized paths to discover all the different aspects of our companies and to give them the training that they need, according to their specific desires.”

The Best Bridal Looks from Paris’s Haute Couture Week SS21

The Best Bridal Looks from Paris’s Haute Couture Week SS21

Luxurious silk, frothy tulle, and delicate lacework — behold the best bridal dresses from this year’s couture catwalk.
Courtesy of Fendi

As fashion season kicked into high gear with Paris’s Haute Couture Week SS21, we were taken into high-glamour fairytales told through fashion films and digital shows, such as Dior‘s mesmerising exploration of self through tarot card characters and Valentino‘s mix of royalty and club-kid punk.
Throughout the week, we’ve witnessed couture’s exciting bridal transformations, including layers upon layers of tulle at Giambattista Valli and ruffle collars at Alexandre Vauthier. Meanwhile, the art of storytelling was transformed as shows fully immersed their virtual audience in beauty and elegance (think of Virginie Viard’s finale where the Chanel bride — wearing a silk-embellished, white-buttoned gown — rode in on a white horse). Aptly, this year’s offerings brought us creations that reinforce the purity of human connection and the emotion of being together — all of which we will hopefully be able to experience again, soon.
From Valentino to Fendi, these are the best bridal looks from Paris’s Haute Couture Week SS21.
1. Valentino
Courtesy of Valentino

2. Fendi
Courtesy of Fendi

3. Giambattista Valli
Courtesy of Giambattista Valli

4. Giambattista Valli
Courtesy of Giambattista Valli

5. Chanel
Courtesy of Chanel

6. Chanel
Courtesy of Chanel

8. Alexandre Vauthier
Courtesy of Alexandre Vauthier

9. Antonio Grimaldi 
Courtesy of Antonio Grimaldi

10. Antonio Grimaldi
Courtesy of Antonio Grimaldi

11. Dior
Photo: Elina Kechicheva. Courtesy of Dior

12. Dior
Photo: Elina Kechicheva. Courtesy of Dior

13. Armani Privé
Courtesy of Armani Privé

14. Viktor & Rolf
Courtesy of Viktor & Rolf

Read Next: All the Highlights from Day Three of Paris Haute Couture Week Spring/Summer 2021
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