🔗 Share this article

Although new names at Chanel and Dior created significant buzz during this Paris fashion week, it was the first show from Balenciaga that truly captivated the public's attention. The event featured a stunning front-row presence: Meghan, Duchess of Sussex, making her first European appearance in three years.

That Saturday night in Paris, the razzle-dazzle of other major houses – and even another high-profile guest – paled in comparison with the sheer impact of the Balenciaga event.

Meghan added an extra layer of glamour and excitement to Balenciaga’s Paris show.

Until that moment, the general mood surrounding the designer's first show had been quite calm. Balenciaga is a time-honored label, and the creative force is widely recognized as a master of his craft. Furthermore, he is admired for his image of the kindest personality in the business. The general expectation was that dramatic fashion statements had exited the Balenciaga building with the move of the edgy designer Demna to a competing brand. But, even the nicest guys pull off unexpected moves, and the royal benediction greatly increased the level of hoopla.

He views himself as an master builder, creating shapes that avoid direct contact with the body.

Notably, the central theme of Piccioli’s “manifesto”, as he explained it backstage, was women's liberation. His primary reference was the revolutionary 1957 design by Balenciaga, a outline that maintains distance from the body, neither amplifying nor constricting a female form. He stated that this look was a powerful manifestation of a evolving cultural mood that was beginning to move from the post-war traditionalism towards the liberation of the 1960s. “It was about progress for women. It released women from the burden of garments that emphasize the physical form and focus on their anatomy. That garment enabled women to exist unencumbered.”

Balenciaga’s most iconic silhouettes were included in the presentation, such as this ‘cocoon’ coat.

Clothes that hold their form are at the heart of the identity of Balenciaga. He likened this design methodology to being an architect: creating structures that do not touch the body, while always thinking about the people who will wear and move in them. “Cristóbal Balenciaga was deeply interested in the physique and with textiles, and with a key factor – the air between the two.”

Leading the presentation was a contemporary update of the iconic dress, extended to an floor-grazing length, paired with elegant gloves – but also with oversized sunglasses that acted as a direct nod to the futuristic edge of Balenciaga’s Demna era.

He, who at fifty-eight adorns himself with beaded necklaces and exudes an calm, bohemian vibe, rejects the idea of seeing design as a personal rivalry. He believes that it is better for designers to appreciate each other’s abilities. The creative director noted that he was aiming for a harmonious balance between the couture roots of the house, and its more contemporary urban phase. The brand's legendary shapes were prominently featured in the show: a structured coat, this time in a vibrant poison green, and a trapeze dress in a intense purple color.

The concept of French-girl chic has become a highly profitable trend. Michael Rider is an designer from the US, but he understands this aesthetic perfectly. He previously worked with the renowned designer during her period as creative director, and then spent six years developing Polo Ralph Lauren into a symbol of approachable fashion. Currently leading Céline, he is introducing the inclusive spirit of Polo to Parisian style. So there were trench coats, woven bags, and elegant scarves used as accents – all the classic elements of French-girl chic – presented in sunny colors, with an positive transatlantic vibe. “Céline isn’t a mean brand, or a brand that wants to exclude people,” Rider stated following the event. The goal is for everyone feels desirable in Celine. By choosing these pieces, you may not have the wildest design, but you have the perfect garment, and you have the confidence to wear it.”