March 2, 2023 |
How would Olivier Rousteing follow last season’s epic, 100 exit, stadium show, complete with a catwalk cameo by Cher? His answer: a smaller venue, a more intimate experience and a focus on the couture silhouettes that made house founder Pierre Balmain the talk of postwar Paris. In 1945, his precise, impeccable tailoring and construction was dubbed the New French Style.
The audience watched from velvet banquettes as Balmain’s models processed. Haughty, elegant, angular, throwing couture attitude in all directions. “This is a runway that’s directly inspired by the incredible silhouettes, signatures and patterns that we’ve pulled from our rich archives” said Rousteing in a statement. The show opened with a series of black and white looks, based on Balmain’s nipped-in Jolie Madame looks of the 1950s. But there was far more to it than simply reproducing past glories. These were clever riffs on the archive, with a modern audience in mind. So, shapes were amped up, exaggerated and architectural. Oversized and contrasting collars, supersized bows, circular jutting peplums and extravagant gathers all played a part. One elegant, draped dress came in saucy PVC.
The Balmain girl is a maximalist, and Rousteing lavished many looks with intense embellishments. What looked like polkadot print from afar was hand-applied pearls. There we fully crystal princess gowns and one luscious pearl fringe chubby that gently clinked as it walked by (one for the ASMR fans). For day, Rousteing proposed flowing silk dresses in a monogram grid print, (inspired by the marble floors of Versailles) which was first shown in 1980.
“We’re shining the spotlight directly upon the enduring power and singular sustainability of timeless designs created by Paris’ finest artisans,” said the designer, who took his bow to Frank Sinatra singing My Way. There was no better tune to sum him up. Rousteing has carved a unique but instantly recognisable look for Balmain.
Photography courtesy of Balmain.
