Crafts instead of controversy: Demas Farewell collection for Balenciaga

Demna Gvasalia’s last appearance at Balenciaga was not characterized by spectacle, but by subtlety: a word that is rarely associated with the designer who has redefined the fashion house for almost a decade. The 54th Haute-Couture collection of the house, which was shown on Wednesday in Paris, was both a personal farewell and a statement of return: for construction, silhouette and the studio.

The designer, born in Georgia, who now takes over the creative direction at Gucci, leaves a Balenciaga that differs radically from what he took over in 2015. Analyst: According to the inside of HSBC, the sales of the brand under his leadership have more than quinted. The parent company Kering reported that Balenciaga was one of the fastest growing brands in the years before the pandemic. Demna transformed the label into a cultural giants who often triggered controversy but always attracted attention.

This collection, however, Mied Provocation in favor of perfection. The fashion show, which was shown in the couture salons of Balenciaga on Avenue George V, included both men’s and women’s look and began with sculptural cutting art: angular shoulders, wasp waist and floor-length outer clothing- all license plates from Demna’s vocabulary. Here, however, they were implemented with a reluctance that signaled ripe. There was nothing of the ironic logo game or the meme-tire accessories of past seasons-except perhaps the golden briefcase in the penultimate look. Instead, the focus was on cut, proportion and precision, whereby many clothing required hundreds of hours of meticulous manual work in the studio.

“These were real clothes,” remarked a fashion insider, “not just statements.”

In fact, craftsmanship – not the concept – stole the show. The skills of the studio showed itself in couture leather, expansive coats and sculptural clothes that were like a turtle armor. Hahnenstieg-Wolle, Crêpe de Chine and artificial fur were carefully processed without the gimmicks, which often distinguished Demnas ready-to-wear. The collection underlined the technical competence of Balenciaga-perhaps a signal to the Couture customer: inside that buy instead of scrolling.

Kim Kardashian, a long-time cooperation partner, embodied nine: a modern Elizabeth Taylor in a pale-satin slip dress with a lace trim on chest and hem. Wrapped up in an artificial fur coat and decorated with diamond earrings that were once belonged to Taylor and borrowed from Lorraine Schwartz, her appearance reminded of how Demna did not only use prominence for headlines, but also for narrative effect.

Nicole Kidman, who was memorable in an earlier couture show, appeared over the catwalk, in a sharply cut black pants suit and stilettos in an earlier couture show. The torch has already been passed on: Pierpaolo Piccioli, Balenciaga’s new creative director, was spotted on a moped when departing. Piccioli, the former creative force behind Valentino’s romantic Renaissance, will present his vision in October during the Paris fashion week with a ready-to-wear collection.

Although Demas is polarized-shaped by cultural breakthroughs and PR crises-its influence is undeniable. He made Balenciaga relevant again, not only for the fashion elite, but also for a generation that grew up with irony and Instagram. However, his last show indicates a farewell message: true luxury is not noise, but nuance. The soundtrack with the names of its employees: inside underlined this point.

It remains to be seen whether Piccioli will continue or proceed differently. But at the moment Demna leaves the stage with a quiet climax, the volume turns down, the voice of the studio turns on.