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Balenciaga S/S07

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  • casem
    Senior Member
    • Sep 2006
    • 2590

    Balenciaga S/S07

    Wow, I really love this, too bad it's for women! The menswear is nice, but a bit plain. I'm a sucker for metallics, and these are done so well. It's very futuristic but I think it's done in a tasteful artisitic way that avoids (for the most part) futuristic cliches. The armor like pants are just incredible. I like how instead of taking midieval armor as an influence, as Galliano did for his latest couture show, he did armor in a modern way using technology and robotics as inspiration. The lean structured, angular cuts are fantastic as well. I also like the play between hard and soft that is looking like a trend for next summer, the hard metallics with light satin pants and wool or cotton jackets is great.
    music
  • casem
    Senior Member
    • Sep 2006
    • 2590

    #2
    Re: Balenciaga S/S07

    Oops, I was going to post pics but it didn't work out. I guess you can see for yourself at vogue.fr.
    Here are links to my favorites:






    and the absolute best one:

    I know they are totally unwearable, but if I could fit into a women's size I would love to have these pants, they are a complete piece of artwork.
    music

    Comment

    • xcoldricex
      Senior Member
      • Sep 2006
      • 1347

      #3
      Re: Balenciaga S/S07

      casem83 can you post it so the pictures show up? you just have to use the button that looks like a picture of a tree. (second row, 3rd from last)

      Comment

      • Faust
        kitsch killer
        • Sep 2006
        • 37852

        #4
        Re: Balenciaga S/S07



        [quote user="xcoldricex"]casem83 can you post it so the pictures show up? you just have to use the button that looks like a picture of a tree. (second row, 3rd from last)
        [/quote]



        Fixed. Case, please do follow coldrice's advice.



        It is a pretty good collection - I am glad he stuck to his strengths (shimmering hiphugging pants, and tailored jackets). I LOVE his take on the biker jacket - probably one of the best one's I've seen. I don't mind slick rock'n'roll done by designers, (especially by the likes of Balenciaga whose clientelle is mostly slick and well-off), because it's not a literal interpretation.

        Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

        StyleZeitgeist Magazine

        Comment

        • Faust
          kitsch killer
          • Sep 2006
          • 37852

          #5
          Re: Balenciaga S/S07


          Balenciaga, Weightless and Floating Free










          PARIS, Oct. 3 — The big boys
          came out to play Tuesday with an electrifying show by Nicolas
          Ghesquiere of Balenciaga that made Milan’s attempts at futuristic
          fashion seem as real as cardboard.




          Mr. Ghesquiere is the most original designer that Gucci Group, which
          owns Balenciaga, had the good fortune to land, and if he isn’t the most
          important designer of his generation, it’s hard to think who would be.
          Certainly, Mr. Ghesquiere, who is 35, is one of a handful of young
          visionaries trying to look at the future of fashion in a believable way.




          Until now, Mr. Ghesquiere has largely seen the future as an
          extension of Cristobal Balenciaga’s 1960’s aesthetic of Mod shapes and
          lunar white, or as a hyper version of the science fiction films he
          loved as a child, and which influenced his early collections for
          Balenciaga.




          Yet the trouble with remaining true to a fashion legacy or a
          childhood fantasy is that it eventually leads to a kind of
          self-entombment. And when you start to build a business around that
          style, with money coming in, you become really trapped, and whatever
          was instinctive about your creative powers slowly begins to shut down.




          Mr. Ghesquiere is at the midpoint of his career. This collection
          seemed to represent an ideological break with the retro futurism of
          Balenciaga. What we are now seeing is the contemporary future of
          Nicolas Ghesquiere.




          To techno music from Cut Chemist, the models, wearing goggle
          glasses, came out in black satin suits with contrasting sleeves or hard
          tops in crocodile, snakeskin or woven patent leather. Last season, Mr.
          Ghesquiere showed extreme volumes; at the time he was also working on a
          major Balenciaga retrospective, and he wanted to make a connection
          between past and present.




          But now the line is superstraight. “I wanted to let go of round
          shapes,” Mr. Ghesquiere said afterward. “Round doesn’t exist anymore.”
          Some of the models looked as if a giant pair of fingers had pinched
          them at the shoulders and drawn them upward. The shoulders of jackets
          were separated from the sleeves, padded and sometimes rimmed with
          patent leather.




          “Never go too much toward caricature,” he said, adding that his
          spring collection was still very much influenced by science fiction
          characters, except that they have become abstractions.




          In contrast, many of the Milan designers turned out to be fanciers
          of futurism, satisfied to add a touch of spacey Lurex or vinyl to their
          clothes but not really committed to innovation. What accounts for the
          rightness of Mr. Ghesquiere’s collection is that you are aware of a
          dissatisfaction with obvious choices. There is nothing complacent about
          these clothes. He made everything, from the fabrics to the shape of
          each garment, relate to his point.




          Along with pantsuits in duchess satin and crinkled silver silk,
          there were easy cotton shirtdresses worn with black deconstructed
          vests, and silk tunics based on a man’s dressing gown and shown with
          low cartridge-style belts. The clothes had an energetic fierceness, and
          one of the most imaginative looks was a soft sacklike top in brown
          leather with an A-line miniskirt in hard black leather. Leggings
          embroidered in a jigsaw of copper metal suggested medieval armor, and
          dresses in patent leather and sheer jersey were finessed like couture
          drapery.




          Yet the thing is, you never sensed the past with this collection. You didn’t care about it. You wanted only what was ahead.




          Fashion writers are sometimes in a position of not merely explaining
          a new collection but also defending it. There was an amazing tenderness
          to Yohji Yamamoto’s show the other night in the Sorbonne — a feeling of
          homecoming, with models dressed in dark masculine layers with beautiful
          white shirts, some with wide lace cuffs. Yet the presentation was so
          poorly done, with Elvis Presley
          crooning on the soundtrack and many in the audience forced to sit far
          away from the runway, as if in the doghouse, that one could have easily
          overlooked some of the long black dresses.




          They were exceptional. One sleeveless dress, to the floor, was
          draped at the back with a single gather. Another style, with a rounded
          skirt, was lightly laced up the back like a loosened corset. The model
          had on hot pink gloves, dark glasses and tennis shoes, a kind of Audrey
          Hepburn remix.




          The Paris shows have generally been strong and inventive. Tao
          Kurihara, the designer of Tao, a label supported by Comme des Garçons,
          ended her showing of white cotton skirts and tops with beautiful skirts
          made from rolled and sliced strips of paper. The more elaborate skirts,
          including a bridal number, made a huge heart-pounding rustle, as if to
          say “She’s coming!”




          Ann Demeulemeester narrowed her silhouette today, which puts her
          right in the money for spring. She showed faded, raw-edge black cotton
          pants that will function as a kind of legging, and there were wonderful
          striped vests and slim cutaways in black and chalky white cotton. The
          prettiest tops were in eyelet or creamy chiffon with a smoky gray hem.






          Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

          StyleZeitgeist Magazine

          Comment

          • Faust
            kitsch killer
            • Sep 2006
            • 37852

            #6
            Re: Balenciaga S/S07



            ...and if he isn’t the most
            important designer of his generation, it’s hard to think who would be.



            If you say so, Cathy [8-)]

            Fashion is a form of ugliness so intolerable that we have to alter it every six months - Oscar Wilde

            StyleZeitgeist Magazine

            Comment

            • laika
              moderator
              • Sep 2006
              • 3787

              #7
              Re: Balenciaga S/S07



              [yawn] whatever....she is such a smarty-pants.



              I have the same problem with this that I had with last year's collection. This is too literal an interpretation of the future and that was too literal an interpretation of the past. I don't see anything abstract about it at all.



              That said, i'm glad to see someone's looking ahead, instead of just cobbling together a bunch of historical quotes. I'm hoping today brings a more thoughtful and interesting vision of the future though.



              ...I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.

              Comment

              • casem
                Senior Member
                • Sep 2006
                • 2590

                #8
                Re: Balenciaga S/S07

                Thanks for fixing my pics. I messed around with it a bit and figured out it only works with Mozilla (I'm on a mac). On Internet explorer the tree icon doesn't show up at all, and safari it's there but nothing happens.
                Anyway, I wonder if they will even produce those super ornate metal pants. From a pic on vogue.uk I think, it showed that they actually assembled them backstage, glueing (or otherwise attatching) the pieces to leggings.
                music

                Comment

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