Whether it’s the 1951 cocktail dress, the 1962 summer collection, or the « Rose dress » worn by Veruschka and immortalized by Irving Penn for summer 1967 (see below), these three creations constitute clear references for Demna Gvasalia’s recent proposals, who, during Couture shows, remains resolutely faithful to the house’s heritage.
Demna Gvasalia, although he may not possess the genius of John Galliano or Alexander McQueen, nor the marketing acumen of Tom Ford (during his Gucci era), undeniably asserts himself as one of the few designers capable of reinterpreting the fundamentals of the Spanish house.
He gravely aligns these codes with our hyper-modern era, often with a touch of cynicism, addressing economic, social, and political themes.
The two dresses (No. 25 and 39) from Winter 2024 are, after all, « distressed » versions of those created by Cristobal Balenciaga, completely in tune with our times.
Moreover, in this show, as always, Demna Gvasilia incorporates streetwear elements into Couture. This doesn’t make it more accessible but situates it in its time. Fashion in action as a means of expression and social critique.
Photos: Fashion Network, Balenciaga Paris ed. Thames & Hudson
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