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Prior to closing his House in 1968, Cristóbal Balenciaga‘s work was the pinnacle of Parisian Haute Couture. Today, under the Creative Direction of Demna, Balenciaga tries to find its purpose in the world of fashion once again; not just returning to form following a slew of controversies, but creating both ready-to-wear collections (per a predominantly gimmick-less Winter 2023 collection and Spring 2024 presentation) and with its Couture line. Earlier today, the House presented its 52nd Couture collection, welcoming guests into its opulent space — 10 Avenue George V in Paris — to the soundtrack of opera.
Soundtrack and invitation combined (a brass cuff bracelet marked with Balenciaga Couture branding, inspired by the pads artisans rely on when working to keep pins and swatches of fabric nearby), the 52nd Couture show was likely to be another spectacular array of Demna mastery. Call it manifestation, but this inevitability occurred off the mark — of course, dissected and tweaked in ways only Demna can do.
That’s not to say the opening look was daring; quite contrastingly, it was a classic black velvet dress draped in a pearl necklace, suitable tasteful and trimmed for the occasion as it came into the room, white satin glove first. But it didn’t take long for Demna’s apparent subversion to arrive: a gown coat in black sported a structured neckline that exaggerated off-the-shoulder detailing, surrounding the chest in volume and rigidity. This design element evolved over the course of the coming looks, climaxing with the frequent House muse Minttu Vesala’s double-breasted blazer (also in black) that was paired with a skin-skimming turtle neck, giving the illusion of a floating head.
Opulence developed while maintaining this neck sculpture, as a white dress decorated with string feathers contrasted the lipstick-red double-breasted overcoat dress that was exquisitely nipped at the waist, highlighting Haute Couture craftsmanship with a heavy nod to the kinds of silhouettes Cristóbal was renowned for.
As for menswear, the architecture of the waist and hip proportions were translated over to suiting, notably a gray Prince of Wales-checkered trompe-l’œil jacquard denim set that put the emphasis on silhouette and manipulation — subtly, but only to make us think this was where the House was going. In true Demna form, it of course, was not where the House was going, as tailoring ventured into both relaxed and highly intricate designs, focusing on how to bring feminine Couture practices (such as a corset-trained waist and Hourglass figures, per the House codes) into menswear that could pair with artistically-distressed denim, which is not denim, but the optical illusion of denim hand-painted onto a cotton-base fabric using oil paints, taking 220 hours to achieve.
Never one to adhere to conventions, padded coats presented with faux fur collars and printed with fur-esque patterns soon became undressed, as models wearing simplistic black mock-neck long-sleeves and jeans entered the room. It is here Demna truly challenges the conventions and folklore surrounding Haute Couture, a revered space reserved for only the finest of garment production, design, and talent. Of course, this is nothing new, as Demna previously presented gimp suits, Helly Hansen coats, and the likes of Kim Kardashian, Dua Lipa, and Christine Quinn on the catwalk.
But it was a switch up nonetheless, ushering a second wave to the 52nd Couture collection. From this point onward, “denim” jackets were given the high-fashion treatment with its proportions perfectly tailored, and a brown leather coat, which was oversized on every element and hit the floor, commented on the kind of drama we expect to see from a Couture label.
Details are key: scarves are bent into position and frozen in time, and feature alongside coats that are warped in various manners. For the Coup de Vent wool coat, inspiration was drawn from Lucien Freud, and looked as if the wind had taken beneath the garment and caused it to stand still. It speaks to Demna’s ability to combine simplicity with intelligence, evidenced by the fact each coat is unique and takes two days to make. Elsewhere, a red cocoon parka also appeared, but don’t mistake it for being anything but Couture with its cinched waist, barrel pocket, and cowl neck promising a return to how the show commenced.
Despite this, Demna is still a man of tradition, and this was clear towards the back end of the collection. Another gown coat, this time in black satin, was belted like a dressing gown and trimmed with lace, conjuring thoughts of the kind of nightie that a Balenciaga Couture customer might adorn in their Parisian townhouse. Windswept sculptures crafted ruched necklines on avant-garde dresses, while other black dresses were skin-tight and wrinkled, as if the wind had bent the garment into a distorted shape.
But it was the final trio that stole the show, and perfectly encapsulated what Balenciaga Couture stands for. As a legacy House, it aims to both remember and reinvent its history, and Demna does so with crystal-embellished gowns, and the subversion of a closing bridal look that was crafted in 3D-printed chromed resin, looking like metal, and reminiscent of Balenciaga’s medieval armor clothing and accessories from Fall 2021.
Balenciaga Couture’s 52nd collection can be seen in the gallery above, while other couture shows, such as Schiaparelli, can be found here.
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