Not all logos are created equal and one that is hot one minute, can quickly, for various reasons, become fashion deadly nightshade. Fashion goes through waves of logomania and then decides it's over, done that and goes subtle and that usually lasts about two minutes with most brands when they see sales falling.
Anyway, the hot logo for AW17 and SS18 is the full name running diagonally across. Think of a branded piece of tissue paper and you get the idea.
When Balenciaga relaunched under new designer Demna Gvasalia the website was given a tasteful tasteless makeover with the name 'Balenciaga Paris' running diagonally across. It then made its way onto clothes and accessories.
I'm not sure how long this is going to last, but, right now, it's cool.
Far Left - Bally SS18
Left - Palm Angels SS18
Below - Balenciaga SS18
Left - MSGM SS18
Below - Balenciaga - Intarsia Wool-Blend Scarf - £365 from MRPORTER.COM
The first ever UK exhibition on the Spanish fashion designer, Cristóbal Balenciaga, and his continuing influence on modern fashion opens at the V&A. The exhibition marks the centenary of the opening of Balenciaga’s first fashion house in San Sebastian, Spain and the 80th anniversary of the opening of his famous fashion house in Paris.
Left - The man himself, Cristóbal Balenciaga
TheChicGeek says, “While I love the V&A’s Fashion Gallery, the big exhibition space, where Pink Floyd currently is, is usually larger and something to get more excited about. But, this exhibition feels less cramped than previous exhibitions in the space - see Underwear here - and upstairs has a nice, spacious flow.
Balenciaga, as a designer, was serious. Those black voluminous gowns seem to sum up his lack of fun. He feels strict in that Spanish Catholic way, manifesting itself in his designs using lace and the Spanish Mantilla. You don’t get much feel for the man or his personality, but I think that’s how he liked it. He only gave one interview in his life, and that was just before he died.
Left - Known for his elegant volumes, Balenciaga was one of the great couturiers of the 20th century
The name disappeared into the history books when he closed his house and only came back into common culture with its revival around 20 year's ago when Gucci’s parent company, Kering, bought it alongside Stella McCartney and Alexander McQueen.
Downstairs is a collection of pieces, mostly coats and dresses, from his most prolific period the 1960s. These are sculptural clothes for pictures and striking as they are, when they become practical, to enter the real world, particularly the commissions by the rich Americans, they look dated and frumpy. His volumes work on their own, but on people they add bulk and often swallow the wearer. These aren't easy wearing pieces.
Some of his pieces aren’t practical either. The wearer couldn’t sit down or go to the toilet in 'Envelope' dress, for example, but this doesn't detract from its beauty.
This was the golden age of 20th century of couture and while he produced ready-to-wear with his 'Eisa' range, his heart was in his exacting standards and the fine fabrics he used.
Left - The 'Envelope' dress, 1967, a design you couldn't sit down or go to the toilet in
Balenciaga is more a collection of one-off greatest hits than themed seasons in the vain of Saint Laurent. These weren’t particularly well documented, even though they were huge, between 150 to 200 looks, as the press weren’t allowed into his shows, so the main imagery is striking black and white shoots in the magazines at the time which have entered in the common psyche of 20th century fashion images.
Upstairs is a large display with a varied selection of designers, both old and new, paying homage to the volumes that Balenciaga pioneered. There are a couple of men’s pieces by JW Anderson and Rory Parnell-Mooney to illustrate that his influence isn’t restricted solely to womenswear.
Left - JW Anderson paying homage to Balenciaga with his tulip trousers
There are a couple of pieces from the new Balenciaga, under Demna Gvasalia, who is producing great things and referencing the house while making it feel contemporary. Unfortunately, there isn't a blue Ikea bag in sight!
Balenciaga: Shaping Fashion until 18th February 2018. Admission £12
Fashion always surprises and reinterprets. We all have our preconceptions about things and it’s that willingness to change that separates the leaders from the followers. I love it when something you think couldn’t be less cool is presented in a new way that makes it desirable. This is what good designers do.
Far Left - Balenciaga SS17, Left - Striped Cotton-Poplin Cropped Shirt - £285 from Matchesfashion.com
When Georgian designer, Demna Gvasalia, of Vetements fame, started working as Creative Director of Balenciaga, I was a bit sceptical. I thought they - the parent company Kering - were chasing the latest cool wave and it was more about column inches and gimmicks than making great clothes. I’ll put my hands up and say I was wrong and they are making interesting clothes at more realistic prices. It’s also the first time that new designers have brought in some of the DNA of the house into the present.
What he has done is play with proportions and shapes, that at first sight seem comedic, but when they start to sink in become desirable and cool. It feels fresh, which brings me to the easiest way to buy into this collection.
Fashion has got basic, and that’s basic as in #basicbitch. Items you wouldn’t have given a second thought are now at the forefront of menswear thanks to Demna Gvasalia at Balenciaga.
Long the wardrobe of the postman or the office dad, the short sleeve shirt, slightly oversized, is the style you should be going for. You want those nerdy triangular sleeves, this isn’t a gun show, and I would team with a pair of tailored sweat pants to stop it looking too dress-down office.
You can opt for the original or find a standard short sleeved shirt in most men’s shops like this like blue version from Esprit.
Left - Esprit - Poplin Shirt With Short Sleeves - £29
French fashion house, Givenchy, has a new Creative Director. British designer, Clare Waight Keller, was announced as Riccardo Tisci’s replacement last week.
I remember her at Pringle of Scotland, but because of the way the company was run, and never really made any of the interesting pieces, it was hard to judge her menswear. She then went to Chloe, and while I look at womenswear, there wasn’t much noise or attention so I didn't really pay much attention. But, she seems like a good caretaker, at the very least.
Right - Who-bert? Hubert de Givenchy outside his chateau
While not a revolutionary appointment, I think, they - Givenchy (LVMH) , obviously, want to re-feminise the brand, most probably targeted at the women's accessories. Tisci’s aesthetic was severe, harsh and a masculine form of sexuality which probably didn’t resonate with that many women or the type of women Givenchy see as their customer. Kim K, anyone?!
I remember being told that he wasn’t under contract to use Givenchy beauty products in his shows which seems ridiculous when this is the cash cow of the business. There was also a disconnect between the fashion and the beauty side.
The menswear pioneered that designer-sweatshirt-with-a-seasonal-image look and the slide of high-fashion into sportswear. When it was good, it was good, and the menswear had never been on the radar before. Remember when Ozwald Boateng was there for a while?!! Those £500 sweatshirts were jumping off the rails.
So, this leads me to the new menswear, which, excitingly, I don't know what to expect. The first season must be SS18, to be shown in Paris in June. Givenchy is a strange brand in that it has a very strong name, but it is not matched with any identity or imagery. The majority of people wouldn't know who Hubert de Givenchy was from a line-up - Who-bert de Givenchy?! and, apart from Audrey Hepburn, many people wouldn’t know a single item of clothing.
So, what should they do? Well, look at Balenciaga. While a newer ‘old’ brand than Givenchy, this is the first time, under Demna Gvasalia, that its archive has been referenced, but in a way that isn’t backward looking. There’s a link which makes sense when you’re buying a historical name. You want that DNA to move forward and make the label mean something. It gives it a certain weight and grounding yet far from 'archive'.
Givenchy menswear doesn’t really have anything direct to reference, but that’s the exciting part. There must be plenty in the archive to inspire and bring forward and refresh that we don't know about. Givenchy should look back to look forward. It should also ask the new creative director to oversee all aspects of the business and maybe use the odd lipstick in her show.