Demna Gvasalia made the Balenciaga’s return to Haute Couture come true after a 53-year absence since the closure of the house’s atelier in 1968.
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“Over half a century later I see it as my creative obligation to the unique heritage of M. Balenciaga to bring the couture back to his house”, Gvasalia said in a statement. He went on to add: “Couture is the highest level of garment construction that is not only relevant in today’s mass-productive industry but even absolutely necessary for the survival and further evolution of modern fashion design”.
Unconventional like Cristóbal Balenciaga who always refused to conform to the Chambre Syndicale de la Haute Couture’s rules, Demna Gvasalia has prepared 63 couture looks which were every bit a love letter to the house’s founding father, packed with gowns resembling oversized coats, outerwear with extreme shoulder pads and shiny lampshade-like chapeaux: Balenciaga loved to play with volume, avant-garde silhouettes and elaborate hats.
Once the impeccable tailoring of the pieces – a series of wool suits for men and women, black-washed denim, double-breasted floor-sweeping coats and padded satin stoles – had been clearly established, the collection became more daring in color, texture, cut and proportion.
And the most direct connection to Cristóbal Balenciaga’s legacy was the final look, a bridal-inspired white gown. Arguably the brand’s most famous creation, the single-seam wedding dress of 1967 was called a “marvel of form” by Vogue.
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