Elle Australia — May 2017

(Wang) #1

46


As told to: Laura Collins. Photography: © Catwalking; Henri Cartier-Bresson/Magnum Photos; Mark Shaw/mptvimages.com; Nick Veasey; Victoria And Albert Museum, London

Silk taffeta evening dress
BY CRISTÓBAL BALENCIAGA, PARIS, 1955
While preparing this exquisite
evening dress, we found a set of
mystery ties in the inside hem.
After much research, we discovered
the dress was designed to be
”—˜ĴŽȱ Š‹˜ŸŽȱ ‘Žȱ ”—ŽŽǰȱ ˜ȱ •’ȱ
Š—ȱ‹Š••˜˜—ȱ‘Žȱ‘Ž–ǯȱ˜›ȱ‘Žȱꛜȱ
time, we’re displaying the dress as
Cristóbal Balenciaga originally
meant for it to be seen, with
‘’œȱœŽŒ›Žȱ’Žœȱ”—˜ĴŽǰȱœ˜ȱ‘Žȱœ”’›ȱ
‹Š••˜˜—œȱ ˜ȱ ž••ȱ ŽěŽŒǯȱ Žȱ ‘ŠŸŽȱ
X-rayed the dress to reveal
the construction details invisible
to the naked eye, giving new
insight into Balenciaga’s unique
approach to design.

Wool and silk skirt suit
BY DEMNA GVASALIA FOR BALENCIAGA,
PARIS, AW16-17 READY-TO-WEAR
In 2015, Demna Gvasalia
took over as creative
director of Balenciaga. He
shares the independent
spirit of the house founder
and cited his 360-degree
approach to looking at the
‹˜¢ȱ Šœȱ Šȱ ”Ž¢ȱ ’—ĚžŽ—ŒŽȱ ˜—ȱ
his AW16-17 collection – his
ꛜȱ›ŽŠ¢Ȭ˜Ȭ ŽŠ›ȱŒ˜••ŽŒ’˜—ȱ
for the brand. Here, the cut
of this statement suit jacket
subverts classic tailoring,
making the body appear as if
it’s striding forward.

THE SHAPE


OF THINGS


At the helm of Balenciaga, Demna
Gvasalia is leading the charge into
a brave new world of fashion


  • but it’s not the first time game-
    changing designs have been
    dreamt up by a creative director of
    the iconic French house. As London’s
    Victoria And Albert Museum gears
    up for its next blockbuster opening,
    Balenciaga: Shaping Fashion,
    curator Cassie Davies-Strodder
    shares her exhibition highlights


Cristóbal Balenciaga at work
PARIS, 1968
I love this behind-the-scenes
image showing an industrious
Balenciaga at work in his studio.
He’s pictured making alterations
himself – an unusual level of
involvement for a couturier to have


  • to a prototype garment on the
    model who will show the piece.
    André Courrèges, who trained
    with Balenciaga in the ’50s and
    ’60s, described his workrooms as
    “pure white, unornamented and
    intensely silent”. It would have
    ‹ŽŽ—ȱŠ–Š£’—ȱ˜ȱ‹ŽȱŠȱĚ¢ȱ˜—ȱ‘Žȱ Š••ǯȱ


CAPTION

Crepe de Chine, lace and satin baby-doll cocktail dress
BY CRISTÓBAL BALENCIAGA, PARIS, 1958
In the ’50s and ’60s, Balenciaga introduced revolutionary shapes –
the tunic, sack, shift and baby-doll dresses – which remain style
staples. Designer Molly Goddard has reimagined the baby-doll
shape. We’re showing her work, and that of other contemporary
Žœ’—Ž›œǰȱ˜ȱ›ŠŒŽȱŠ•Ž—Œ’ŠŠȂœȱ’—ĚžŽ—ŒŽȱ˜—ȱŠœ‘’˜—ȱž™ȱž—’•ȱ˜Š¢ǯȱ‰
Balenciaga: Shaping Fashion opens May 27; vam.ac.uk

A MODEL WEARING

BALENCIAGA IN PARIS, 1954

ELLE AUSTRALIA

SEE

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