The relativity between architecture and fashion is unfathomable. Be it from deciding what the building is for (Season), the materials and resources used (Fabric and forms of sequins, and beads), which leads to the construction (Pattern drafting), and then the wait until the building (Clothing piece) commences – There’s a point to this, I promise.
Balenciaga, name after the iconic Cristóbal Balenciaga is a house idealy known for it’s structured pieces, eye to proportions, and to the way it changed the way women dressed back in the early 1900’s. Demna Gvasalia, the new creative director for the brand designed the houses’ first menswear show, and in it the foundations of the brand piquantly remained – no pun intended.
It was intimate, and it was held in a Paris atrium, the Lycée Saint-Louis-de-Gonzague. The collection was all about the elevated extremities of form, linearity, and proportions – the embodiment of that, and the piece that was the base of most the pieces in the shows was Cristóbal Balenciaga’s unfinished jacket that Gvasalia decided to finish, and showcase. Single, and double-breasted jackets were either oversized, or were a form of skin. Collared shirts, or so I thought turned to be bomber jackets with the waistband right around the hemline. The trousers were cropped, and flared, their cut revolved around the start of the stacked heels that the models wore.
I’m unaware of whether we’re throwing it back to the Antoinette era in fashion to when men wore heels, or if it’s just a fad that’s about to hit. In relation to Antoinette, around the closing pieces during the show, they were apparently made from fabrics that were sourced from the Vatican. The use of the fabrics was in relation to Catholicism, Balenciaga was a devoted catholic, so the use of it was to make recognition of its formality, and not towards religion.
It’s a new sheet of drafting paper, one that’ll re-draft itself in time, and we’ll only have to wait until its construction is completed.