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.
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Balenciaga S/S07
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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.
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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
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Re: Balenciaga S/S07
Balenciaga, Weightless and Floating Free
By CATHY HORYN
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
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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
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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.
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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.
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