collections

BalenciagaSpring Summer 2015 Paris

Runway Review
9/24/2014 TeamFWP

Alexander Wang brought some New York club attitude to his Balenciaga show at Paris fashion week on Wednesday night. Models wearing dramatic, floor-sweeping coats and mirrored sunglasses strode across a geometric glass catwalk suspended over swirling dry ice. It was a step change in atmosphere from the rarefied morning slot that Balenciaga has previously occupied, suggesting that, after four seasons in charge, Wang – who splits his time between his own label in New York and Balenciaga in Paris – is now fully confident in the direction he is driving the historic French house.

Backstage, the excitable designer declared the collection to be about “opulence” before he was swamped with congratulations from Kanye West, Kim Kardashian, their baby North and assorted bodyguards.

Wang’s Balenciaga represents a successful marriage between the label’s dramatic archive cuts and his own, more easygoing aesthetic. Embellishment and embroidery were used in a less precious way – overblown diamond-shaped lattice pockets added a sportswear edge to floor-length cream coats.

Sporty tops – a Wang favourite – were given the Balenciaga treatment in delicate lilac shades with shimmering beads and jersey-ribbed collars. String-vest-style skirts that sat below the knee were both sporty and luxurious. Mirrored sunglasses were secured to models’ heads like ski goggles using heavily beaded straps. Decadent utilitarianism was the show’s paradoxical theme.

Earlier in the day, an act of quiet rebellion set the agenda. At the finale of the Dries van Noten, rather than strutting backstage in a flurry of flashbulbs, the models sat down and lolled about on the tufted, moss-coloured catwalk. Amid the ritualised world of fashion weeks, this end scene – which intentionally recalled Millais’ Ophelia painting – was remarkable enough to set a dreamy tone.

View Runway
9/24/2014 TeamFWP

Alexander Wang brought some New York club attitude to his Balenciaga show at Paris fashion week on Wednesday night. Models wearing dramatic, floor-sweeping coats and mirrored sunglasses strode across a geometric glass catwalk suspended over swirling dry ice. It was a step change in atmosphere from the rarefied morning slot that Balenciaga has previously occupied, suggesting that, after four seasons in charge, Wang – who splits his time between his own label in New York and Balenciaga in Paris – is now fully confident in the direction he is driving the historic French house.

Backstage, the excitable designer declared the collection to be about “opulence” before he was swamped with congratulations from Kanye West, Kim Kardashian, their baby North and assorted bodyguards.

Wang’s Balenciaga represents a successful marriage between the label’s dramatic archive cuts and his own, more easygoing aesthetic. Embellishment and embroidery were used in a less precious way – overblown diamond-shaped lattice pockets added a sportswear edge to floor-length cream coats.

Sporty tops – a Wang favourite – were given the Balenciaga treatment in delicate lilac shades with shimmering beads and jersey-ribbed collars. String-vest-style skirts that sat below the knee were both sporty and luxurious. Mirrored sunglasses were secured to models’ heads like ski goggles using heavily beaded straps. Decadent utilitarianism was the show’s paradoxical theme.

Earlier in the day, an act of quiet rebellion set the agenda. At the finale of the Dries van Noten, rather than strutting backstage in a flurry of flashbulbs, the models sat down and lolled about on the tufted, moss-coloured catwalk. Amid the ritualised world of fashion weeks, this end scene – which intentionally recalled Millais’ Ophelia painting – was remarkable enough to set a dreamy tone.


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