In 2000, Viktor & Rolf launched their company logo of a wax seal bearing the monogram V&R, and began to devote their artistic talent to ready-to-wear collections.

[12] In 2015, the designers halted ready-to-wear production and returned once more to haute couture citing that they wanted to "explore the limits of wearability, function and form.

[18] The fluid materiality of latex (not commonly used in high fashion) juxtaposed with the light colour palette resulted in an almost ethereal and angelic collection.

[19] The monochromatic palette gave primary focus to the design and pattern making techniques, which recalled primitive knotted constructions and classic couture styles.

To visualise the central concept, Viktor & Rolf adopted the quintessential summer outfit of a floral sundress, flip flops and a straw dress, and transformed the imagery into three-dimensional sculptural pieces.

Floral outlines evolved into three-dimensional fabric flowers, as simple straw hats extended laterally to connect with the pleated dresses.

Van Gogh Girls is not only an exercise in exaggerating forms and imagery, but additionally showcased the close relationship between artists and fashion designers.

Twenty models, dressed in simple denim artist's smocks, walked the runway draped in what appeared to be oil paintings.

[22] Boulevard of Broken Dreams (Spring/Summer 2017) Imperfection was the central concept of Viktor & Rolf's most recent haute couture collection.

Recalling the message of recycling from the Vagabonds, Boulevard of Broken Dreams pairs contrasting patterned fabric with a fantastical and delicate colour palette.

[23] The aesthetic and intention of the collection was summarised by critic Suzy Menkes: "The patchwork of grandeur was as pretty in its choice of colour as it was in the feminine shapes.