Each artist returns to his or her roots eventually. Pablo Picasso did so for a brief while in 1918, where it was theorised that the effects of World War I influenced a realism moment for the known surrealist artist. Madonna took it against label executives’ warnings and produced a laid-back, country-inspired album at the height of her high-profile career. What did Madonna and Picasso have in common to make them feel the need to go back to their roots. It was a sudden feeling of self-discovery.
After years of developing and refining a particular result or quality, you may find yourself in a situation where you need to restart. This is an opportunity to start over and remove the noise that surrounds your name and work.
Then there is Balenciaga, specifically its Winter ’23 collection, where creative director Demna did away with the meta, camp-induced click baits he has induced the brand towards for years. Instead, he leaned his attention towards stripping back to design fundamentals — a feature that will trickle down even to his most recent 52nd Couture collection in July.
Here, the designer took the shoes of the brand’s founder, Cristóbal Balenciaga, and abandoned his own. A change in the air brought to life immediately by using simple white canvas drapes in the collection’s show or the backdrops of the still-in-progress restoration of the ateliers at 10–12 Avenue George V in its campaign. It is undoubtedly a startling contrast, given the inescapable gritty, techno-infused landscapes and attitudes of Demna’s Balenciaga that has been tied to his name.
What was the beginning of Balenciaga like? Simple, it meant full steam ahead on focusing on design — the way Cristóbal Balenciaga had established the brand. But not only meaningful design that adorns the body in perfection, or outfits adapted from archives and given a modern interpretation. But to begin again meant new ways of thinking about fashion, just as Balenciaga was known for being a master in deconstructing the perceived. It would explain why Winter ’23 still looks fresh and modern despite its connotations of heritage.
To steer the house back to its beginnings would be to respect Christobal’s Balenciaga intentions. He was adamant about deconstructing, and this trope gave him a powerful edge. Demna would produce new deconstructions based on this line of thought.
While producing volume was Cristóbal Balenciaga’s forte — who achieved it by breaking the rules of forms back then — Demna replicated it using air. Inflatable shapes are sewn directly into the linings of zip-up hoodies and motorcycle jackets. Tracksuits, puffer jackets, and tracksuits can also be reconstituted. Its intention is completely Cristóbal Balenciaga, but its execution — produced with everyday aesthetics — has Demna’s inklings shown throughout still. Silk georgette dresses with extreme asymmetrical cuts and draping are also revealing new volume.
There might be things that Demna’s Balenciaga has yet to accomplish at Balenciaga, but of all the designers who have been given the title of creative director at the house, Demna is the only one who comes as close to Cristóbal Balenciaga’s original intentions. Even jersey — a material unknown to the original Balenciaga house — has been remade through deconstruction in the collection.
Small-fit sweatsuits in jersey or velour, animal print leather trenches, and floral print plissé dresses were all rebuilt to highlight shoulders and provide a prominent, rounded form thanks to armoured patches.
Its Couture line also makes an appearance: floor-length gowns that were painstakingly sequinned, crystal-studded, layered with beaded fringe, knit with sparkling yarns, lace embroidered, and hand-embellished with single drops of silicon draws extreme parallels to the usage of everyday items and Balenciaga’s context of Haute Couture techniques. Bags were blown up in proportions too, but soft in touch — the collection introduces the Monaco Bag and an evolution of the Crush Bag.
Photo @markingdistance
This article was first published on MEN’S FOLIO Singapore.
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