Balenciaga is a recognisable name, and a brand that recently has been the centre of many controversies. Even before that however, Balenciaga has been, and continues to be, publicly criticised, ever since the introduction of Demna Gvasalia as creative director. Their abstract designs, along with a hiked-up price tag, create a lot of buzz within the fashion realm. Before I begin to discuss Demna-era Balenciaga however, I believe it is important to know a brief history of the brand, and a brief history of Demna himself.
Balenciaga is a luxury fashion house founded by Spanish designer CristĂłbal Balenciaga in 1919. The brand quickly gained recognition for its innovative designs and unique approach to silhouette and structure. Throughout the 1950s and 60s, Balenciaga was known as a leader in the world of haute couture and was favoured by high society women and royalty. In 1968, Balenciaga closed its doors due to the death of its founder and changing fashion trends, but the brand was later resurrected in 1986, but struggled to regain its former glory. However, since the brand appointed Demna Gvasalia as creative director in 2015, it has once again solidified itself as a prominent luxury fashion house.
Demna Gvasalia is a Georgian fashion designer and creative director, born in 1981. He grew up in the Republic of Georgia and later moved to Germany to study at the Royal Academy of Fine Arts in Antwerp, Belgium. The Royal Academy of Fine Arts is a prestigious school that has produced many notable names such as Walter Van Beirendonck, Ann Demeulemeester and Dries van Noten (members of the group the Antwerp Six). After completing his studies, he worked as a designer at various fashion houses, including Maison Martin Margiela, Louis Vuitton, and his own brand, Vetements. In 2014, Demna co-founded the avant-garde fashion label Vetements, which quickly gained recognition for its unconventional designs and streetwear inspired aesthetic. Under Demna's creative direction, Vetements became known for its oversized silhouettes, bold graphics, and deconstructed pieces that challenged traditional fashion norms.
The belief that Balenicagaâs recent designs are âtrollsâ is a highly popular one, generally throughout the general public, who are not very informed on Demna and his designs. Balenciaga has released a number of products that received great amounts of criticism under Demna, namely the $1,790 âtrashâ bag, or the Balenciaga Crocs, many models which retailed above $1,000. Putting myself in a fashion outsider's shoes, I can see how these items could be seen as jokes, as if Balenciaga is playing a prank on the consumers, especially with the outrageous price tags on many of their items. However if one does their research into Demna, they will find that he has stayed true to his original philosophy of tearing down any preconceived notions surrounding fashion, and rebuilding the publicâs perceptions.Â
The Balenciaga NYC Show Spring 23 Collection, is known for its bold and thought-provoking designs that often carry symbolic meaning. In this particular collection, Demna sought to explore themes of consumerism, environmental degradation, the impact of technology on society, and the fetishism of finance. The collection features exaggerated silhouettes, oversized and distorted shapes, and a colour palette inspired by environmental waste and pollution. These elements symbolise the negative impact of consumerism and modern society on the environment. The use of bright, eye-catching colours serves to draw attention to these issues, while the distorted shapes represent the damage that has already been done. In addition, the collection incorporates elements of technology and digital culture, such as computer-generated prints, circuit board patterns, and internet-inspired graphics. These elements symbolise the all-encompassing presence of technology in our lives and its impact on the way we see and experience the world. The show takes place in the New York stock exchange, and it provokes thoughts about the fetishism of finance, which is also shown through the exorbitant price of the garments themselves.
However, to counter my argument, Balenciaga is owned by the Kering Group, a group that owns Gucci, and many other luxury fashion brands. This means that Balenciaga is a primarily profit-driven company, and could mean that Demnaâs outrageous, and polarising designs are simply publicity stunts, used only to bring profit to the Kering Group. While this completely counters my argument, I believe that this was an important point to bring up, as I want to open myself up to the idea that the general publicâs opinion on Balenciaga is in fact correct.
Balenciagaâs recent controversies and collaborations also point to this fact, such as their recent collaboration with Kanye West, an undeniable polarising public figure. This, along with their collaborations with the video game âFortniteâ, or with âThe Simpsonsâ, drum up large amounts of chat within the fashion space, and while deeply criticised, generally help in creating buzz around a brand, and as they say, any publicity is good publicity. I think that their creative ways of creating buzz, or shocking the consumer, is also what they attempted to do in their recent campaign that received a very large amount of backlash. The campaign advertisements contained old court cases surrounding child sexual abuse, and one ad was even of a young girl holding a toy bear that had many BDSM style accessories on it. I believe that while this was absolutely inappropriate from Balenciaga, their intentions remained the same as with their older campaigns, which was to shock the viewer.
In conclusion, Balenciaga, a luxury fashion house with a rich history, has been the centre of many controversies and public criticism since the appointment of Demna Gvasalia as creative director in 2015. Demna's unconventional designs have been met with mixed reactions, with some viewing them as artistic and innovative, while others see them as outrageous and simply publicity stunts. Despite the polarising opinions, Balenciaga has solidified itself as a prominent fashion house with thought-provoking designs that challenge traditional fashion norms. Balenciaga's designs and controversies will continue to spark discussion and debate within the fashion industry and the public eye, and continue to feel like a joke to those less informed.
Raf Simons is a recognisable name to anybody interested in the fashion space, and an undoubtedly polarising figure in the industry. A visionary Belgian fashion designer who has made a significant impact on the fashion industry, Simons is known for his minimalist designs and avant-garde approach to fashion. Since his debut in the mid 1990s, Simons has pushed boundaries and redefined what it means to be a designer. His unique aesthetic and outstanding ability to seamlessly blend high fashion with streetwear has earned him a dedicated, cult-like following and numerous accolades.
One of Raf Simons' most recognisable collections, âRiot Riot Riotâ, was first displayed during Paris Fashion Week for Fall/Winter 2001. Simons drew inspiration from the vigour and rebelliousness of the punk movement for the collection, which was a reaction to the social upheaval and political turbulence of the moment. The collection's harsh, monochrome colour scheme, vivid geometric patterns, and oversized shapes pushed conventional notions of form and proportion. Models stormed down the runway in a flurry of movement and emotion during the runway presentation, which was a spectacle in and of itself. âRiot Riot Riotâ is evidence of Simons' aptitude at using clothing as a vehicle for cultural expression and a window into his environment.
The symbolism in Raf Simons' âRiot Riot Riotâ collection is multifaceted and deeply rooted in cultural and political contexts. The use of oversized silhouettes and graphic prints represents the rebellious spirit of the punk movement, while the stark black and white colour palette signifies a rejection of traditional fashion norms. The collection's title itself, "Riot Riot Riot," is a nod to the political unrest of the time and an acknowledgement of the power of youth-led movements. The collection's use of graphic prints and bold text further emphasised its message of rebellion, with slogans like "riot," "power," and "control" emblazoned across t-shirts and jackets. In this way, âRiot Riot Riot" served as a visual manifesto, using fashion as a means of communication and a platform for social commentary. By incorporating these powerful symbols into his collection, Raf Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in.
âRiot Riot Riotâ was heavily influenced by Eastern Europe, with many of the collection's motifs and designs drawing inspiration from the region's rich history and cultural traditions. The collection featured a number of garments that were reminiscent of traditional Eastern European dress, along with long coats with oversized lapels, assorted military surplus, and a general oversized look. The looks also had many layers, which could be seen all throughout Eastern Europe, due to the extremely cold climate of the area. The collection's use of bold graphic prints and stark monochromatic colour scheme also reflected the visual language of the region, with its history of propaganda and political upheaval. Simons' use of these Eastern European influences served to emphasise the collection's message of rebellion and political resistance.
The use of patches played an important role in conveying the collection's message of rebellion and social unrest. Patches have long been associated with counterculture and the punk movement, making them the perfect symbol for a collection that sought to challenge traditional ideas of fashion and society. The patches used in "Riot Riot Riot" were intentionally placed in strategic locations, such as on the elbows of jackets and the knees of pants, to suggest that these garments had been worn in the heat of protest and physical confrontation.
Many of the patches featured on the garments were references to artists who put themselves in harm's way, or sacrificed their physical and mental health for the sake of their art. This is often viewed as a reference to Simonsâ own life, as he had just taken a hiatus before designing and releasing this collection, largely due to the lack of success and sales from his previous work. His mental health was deteriorating, and the references on these patches were symbolising Simonsâ beliefs about sacrifice for oneâs art. Releasing an extremely abnormal and never seen before collection of garments in this state of mind could be viewed as a huge mistake on Simonsâ part, and temporarily, this seemed to be true. The collection was not hugely popular, and many of the items were struggling to be sold. However as time passed, the public began to view the collection for what it was, an amazing creative feat, with deep rooting meaning and social commentary.
One patch that reoccurs throughout this collection is an infamous image of Richey Edwards, the lead guitarist of the Manic Street Preachers, a Welsh punk band most prominent in the early 90s. Upon receiving criticism about the authenticity of the band, with many journalists stating that they were not truly punk, Edwards would use a razor to carve â4REALâ into his forearm. The patch depicts Edwards bleeding from the arm, with fresh razor wounds, and can be seen on many garments in the collection. The Manic Street Preachers are the topic of many other patches in this collection, and this is the most clear example that Simonsâ uses, of an artist putting their art (in this case their authenticity) before their own health.
Another patch that continues this theme of harm for art, is an image of Monte Cazazza, an artist known for pioneering the genre named âindustrial musicâ, and even played a large role in coining the term. Other than this however, Cazazza normally participated in performance art, much of which was on the extreme side. During his performances he would pull guns, dump cement onto people, perform stunts involving dead cats, and methods of self-harm were also a prominent part of his performances. The patch in question depicts Cazazza profusely bleeding on his chest, and seemingly âgraspingâ at the camera.
The connection between these two patches is clear, and this can be seen throughout many others displayed in the collection. The symbolism and connection that Simonsâ is drawing through his use of these patches is obvious, which is the relationship between an artist's physical and mental health, and their works. These references show artists who put their art before their health, harming themselves for the sake of the art (and occasionally the harming is the art itself). It could be argued that Simonsâ uses these references to show his support, however I believe he is simply making a social commentary and comparing his own experiences as a creative, rather than offering up an opinion.
While it is difficult to know the exact state of Raf Simons' mental health during "Riot Riot Riot," it is clear that the collection was deeply personal and reflective of his own struggles with anxiety and depression. In interviews, Simons has spoken candidly about the toll that the fashion industry can take on one's mental health, and it is likely that the pressures of his work contributed to his emotional state during this time. The collection itself was a risky form of catharsis, allowing Simons to express his own feelings of anger, frustration, and rebellion through his designs. Today, Simons continues to be an advocate for mental health awareness in the fashion industry and beyond, using his platform to raise awareness and break down the stigma surrounding mental health issues.
Why did this collection originally go over terribly, and why was Simonsâ largely misunderstood as a designer? As with anything new or unseen, many people can take their time in adjusting, as their preconceived notions of a âgoodâ item of clothing or collection of garments is set in stone. The juxtaposition of âRiot Riot Riotâ against the fashion space at the time was clearer than ever, and his adventurous attempt to be himself did not go over well with the public. Even Raf Simons cult following had to adjust to this new look he debuted, as his previous works had been much more slim and tailored, with much less layering. Even though it would be expected that the reception to this collection would damage Simonsâ mental health even further, he actually came out of it much better off. As previously mentioned, Simonsâ was using this collection as a form of catharsis and rebellion, and the positive effects that this had on him were apparent. Simonsâ would continue this oversized, avant-garde look throughout his career, all while incorporating some of his earlier, tailored look.
Raf Simons is a revolutionary fashion designer who has left an indelible mark on the industry. His "Riot Riot Riot" collection, which was heavily influenced by Eastern European culture and the punk movement, is a powerful example of how fashion can be used to convey a message of social commentary and rebellion. Through the use of oversized silhouettes, graphic prints, and strategically selected patches, Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in. Despite initially receiving a lukewarm reception, the collection has since been recognised as a creative masterpiece, with deep-rooted meaning and significance. Overall, Simons' work is a testament to the transformative power of fashion and its ability to challenge traditional ideas and push the boundaries of art.
The demand for intricate and dark artisanal clothing has boomed in recent years, largely due to the ease of viewing through the internet, and the recent obsession over quality, artisanal garments. However, brands that fit into this description have always had a small, yet loyal following, such as Guidi or Boris Bidjan Saberi. Even though these labels are highly regarded, none have generated the same level of enthusiasm and awe as Carol Christian Poell, often known as CCP. Poell, who is renowned for his innovative design methods, is one of the most amazing examples of contemporary fashion, which can also be attributed to his ability to shield himself from public gaze.
Poell has a loyal following due to his unique and innovative approach to fashion design. His designs are characterized by their sculptural shapes, avant-garde silhouettes, and experimentation with materials. He is particularly renowned for his use of leather, which he is able to manipulate in ways that are both technically complex and visually striking. His work is often seen as a bridge between fashion and contemporary art, with many pieces taking on a sculptural quality that pushes the boundaries of traditional clothing design. His commitment to traditional craftsmanship and attention to detail also endears him to his followers, many of whom are willing to pay exorbitant prices for his one of a kind pieces. Overall, his dedication to pushing the boundaries of fashion design, combined with his commitment to craftsmanship and attention to detail, has cemented his place as one of the most influential and respected designers in the fashion industry today, and has earned him a loyal following among many fashion enthusiasts and collectors around the world.
The unconventional designer is known for being private and reclusive, and somebody who tends to avoid the spotlight. Despite his reputation as one of the most innovative and influential designers of his generation, he rarely grants interviews and does not participate in the traditional fashion show circuit. Instead, he prefers to let his designs speak for themselves, and to focus on perfecting his craft while developing new techniques and materials. Poell is known for his meticulous attention to detail and dedication to traditional, yet innovative craftsmanship, and he is said to spend months or even years perfecting each piece in his collections. While Poell's aversion to the spotlight can make it challenging to learn more about him, it has also contributed to his allure and mysterious persona, and has helped to cement his status as a cult favorite among fashion insiders and collectors.
Carol Christian Poell was born in Linz, Austria in 1966. Poell studied in the Senior Academy of Commerce and the School of Fashion and Design in Graz, Austria, soon after finishing high school. Poell had simply two options while residing in Graz: develop his expertise in Gerberlehre or seek a career in tailoring. He was already a skilled leather-maker with a basic understanding of tailoring at that point, thereby compelling Poell to pursue the latter. He became dissatisfied after leaving the School of Fashion and Design for The Costume Michelbeuern School for Tailoring and Dressmaking in Vienna, where he soon discovered that Vienna did not require any form of university-level education for tailoring, which led him to change his professional path one last time towards fashion design. Soon after, Poell relocated to Milan to finish his studies at the Domus Academy. There, he earned his master's degree in fashion design, met Sergio Simone, and together they founded CCP Srl, the official production and distribution firm for CCP.
Known for his innovative and unconventional methods in fashion design, which have helped him carve out a unique niche in the industry, Poell has sparked widespread interest in the fashion industry. One of his most distinctive methods is his approach to leatherworking, which involves treating the material with a variety of chemical and natural treatments, namely soaking it in saltwater or wrapping it in sawdust. This results in a variety of textures and finishes that are both visually striking and technically complex. Poell is also known for his use of unusual materials, such as horsehair, human hair, and even blood, which he incorporates into his designs in unexpected ways. Specifically, during one of his later collections, Poell applied animal blood to the interior side of leather, as he believed it would help to "give back life" to the material. He thought that this unconventional method was the only way to achieve a truly unique character for the leather, as the chemical properties of blood would naturally change in tone over time. His experimentation with materials extends to his footwear as well, with Poell often creating strangely sculptural shoes that challenge traditional notions of footwear design, and his commitment to innovation and experimentation has helped him establish a loyal following of fashion enthusiasts and collectors who are drawn to his unique and boundary-pushing approach to fashion.
In the year 1994, Poell found himself on the brink of releasing his first line of men's clothing. However, after much contemplation, he had a sudden realization that he neither wanted to work under his own name nor put out a comprehensive collection. Instead, Poell chose to unveil a modest assortment of clothing, embedded with the industrial motifs he was accustomed to and characterized by the manufacturing process that produced them. This small, experimental array, which would later be dubbed the "Unintended Collection," comprised only four basic menswear items: trousers, a jacket, a shirt, and a T-shirt, that Poell imagined to be the foundation of his forthcoming creations.Â
His vision was validated when a handful of Japanese buyers discovered a pair of his trousers and placed an order for ten more of them, as well as for the rest of his first collection. This led Poell to create and release his first full collection, in Spring/Summer 1995-96, named the â1st Intended Collectionâ. The collection was a defining moment in the designer's career and in the fashion industry as a whole, earning him praise from fashion critics and collectors alike for its innovative approach to materials and design. Notably, Poell received praise from the Chanel creative director at the time, Karl Lagerfeld. The collection featured sculptural leather jackets, avant-garde trousers, and shirts with intricately constructed detailing. Each piece was crafted with meticulous attention to detail, and the quality of the craftsmanship was apparent in every stitch and seam. Poell's unique blend of technical skill and creative vision earned him a reputation as one of the most innovative designers of his generation, and his first full collection set the stage for the many groundbreaking collections that would follow. Today, the collection is remembered as a landmark moment in fashion history, a testament to Poell's creativity, and a touchstone for anyone seeking to understand the evolution of contemporary fashion design.
Carol Christian Poell's first womenswear collection in 1999 marked a pivotal moment in his career, as it demonstrated his ability to push the boundaries of traditional clothing design even further, in new and innovative ways. Initially intended as a men's collection project, the Spring/Summer 1999 collection didn't fit the coherent image of Poellâs previous menswear lines due to its theme. However, he saw this as the perfect opportunity to create his first-ever venture into women's fashion, shifting his focus to designing the collection for women instead. Contrary to the general consensus in the fashion industry, Poell famously believed designing womenswear to be much more restricting compared to menswear, and thought that he was able to push himself more when designing menswear.
Poellâs mastery of fashion and design extends beyond the realm of mere expansion, as he also delves deep into its intricacies. No element, be it the fabric, seam, or pleat, escapes his scrutiny. To create garments that are surreal and intimately personal, he manipulates materials with cutting-edge technology developed specifically for this purpose. Leather, a fabric that holds great personal significance for Poell due to his grandfatherâs tannery, is a frequent feature of his designs. In his "Best Before 16/10/00" collection, Poell pushed the boundaries of traditional tanning techniques by experimenting with a rare and obscure method that dilutes the leather's transparency. Driven by his fascination with themes of disruption and death, Poell seeks to explore the deeper meaning behind his designs, offering his audience a glimpse beyond the surface.
Another aspect of Poellâs works that is extremely unconventional are his runway shows, or perhaps lack thereof. Poell has never conducted a traditional runway show for any of his collections, often opting for more abstract, or even groundbreaking ways of presenting his garments. His lack of a conventional catwalk has been replaced with the most obscure of locations, such as underneath a sheet in a morgue, surrounded by skinned animals in a slaughterhouse, floating down a channel, or behind the metal bars of a large dog kennel. Poell selects these locations to both explore the themes of death and uncomfortability, whilst demonstrating the constraints that are set upon us by society. The recurring themes and inspiration visible throughout Poellâs collections can generally be chalked up to his childhood experiences. He had a close relative that was a doctor, and most of his other family members worked with leather, surrounding him with various, confronting stages of life from a young age. His childhood influence is clear in his works, and Poell is unmatched in demonstrating this through his art.
Carol Christian Poell challenges the political and commercial influences in modern fashion with his scientific design process and methodology. He is an artisan who does not seek mainstream media attention despite his adoration from many in the fashion community, and rather than physical appearance, Poell focuses on the relationship between fabrics, textures, and form as an industrial designer. Fashion shows and media coverage are not central to the garments he produces and only hinder his process. Although the designer's ambiguity is difficult to put into words, his core philosophy is best captured by the idea that âAvant-garde is advanced and individual thinking. The exact translation from French means, âbefore the crowd or the mass,â therefore it can never be trendy nor fashionable.â
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