Ideas around this piece are currently feeding into my project proposal. Initially because of the materials and techniques that have been used, and the gender associations that relate to them. I need to research electro-plating and find out if/how I can organise/generate some samples. I think that it could be a way of preserving the detail and distressed qualities of my fabric pieces whilst turning them into metal. watch this space!
Review/Critical Presentation:
Strapless wedding dress and bridal bouquet, silver-plated;
‘Silver’ Autumn/Winter collection 2006/07.
Designed by Victor Horsting and Rolf Snoeren; Dutch fashion designers who have collaborated together as ‘Victor and Rolf’ since 1993. It featured in a retrospective of their work: The House of Viktor and Rolf’ presented at the Barbican Art Gallery in 2008.
‘For Viktor and Rolf, Couture is an artistic medium, a commodity, and a laboratory of ideas.’ (P6; Merrell) Renowned for collections that straddle the boundaries between ‘Art’ and ‘Design’ they critique the fashion industry while working within it, challenging preconceptions of what clothing can be, using materials in suprising and innovative ways and presenting their work through performance and site specific installation.
The piece was presented in a number of ways; as a full size garment on a mannequin, in miniature on ‘Caroline,’ a doll within a doll’s house, and through footage of the catwalk show.
To categorise this piece as a garment at all is questionable! Clearly it can be worn, but the movement of the wearer is restricted, the process of electroplating subverts the function of the garment transforming it into an object. Inspired by the Dutch custom of preserving a baby’s first shoe for posterity by electroplating it in silver, the dress is an exploration of ideas around the preservation of a memory or event through transformation of a perishable artefact into a resistant, durable momento. It has been described as ‘a metaphor for a desire to give permanence to fashion and still its fleeting nature.’ (P178; Merrell 2008) but also has other connotations.
When viewed closely at the Barbican, the intricate edges of its lace skirt imply the delicate qualities of the fabrics used. The preservation of construction detail and form indicate the level of craftsmanship required in realising this piece, a technical triumph! However, metal surfaces strongly lit from above in a darkened space made the dress look vulgar, like a massive silver charm that will inevitably tarnish as time passes. A critique of the ephemeral nature fashion industry or a comment on the state of matrimony? One thing is clear, heralded as the climax to the 2006/07 Autumn/Winter collection the cultural importance of the wedding dress is maintained and reinforced, both as the ultimate aspirational garment and a pinnacle of the creative process.
http://www.youtube.com/watch?v=OEvp9jkErmo&NR=1&:featur=fvwp
Bibliography:
The House of Viktor & Rolf: Merrell; 2008.
http://www.youtube.com/watch?v=OEvp9jkErmo&NR=1&feature=fvwp
http://www.showstudio.com/contributor1363 25/19/2009.
Inside the House of Viktor & Rolf – Symposium; Viktor & Rolf in conversation with Penny Martin (Barbican Centre, 13 Sept 2008) http://www.showstudio.com/contributor1363 25/10/2009.
The Golden Age of Couture; Paris and London 1947-57.
Edited by Claire Wilcox. V&A 2007.
Picture sources:
Christian Dior ‘New Look’ 1947.
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