Balenciaga

BalenciagaHistory of Fashion Design

Rachel Bergan

Spring 2012

Balenciaga’s innovativesilhouettes, use of fabrics, andstrong attention to detail madehim a leading designer in the

20th century.

Timeline

1895 born in Guetaria, Spain Until 1918 educated in fashion by mother 1930s Spanish Civil War forced him to close the 3

shops he had 1937 moved to Paris to open couture shop Fall 1938 1st collection 1968 retired 1972 died 1997 Nicolas Ghesquiere took over

Cristobal Balenciaga The Thames & Hudson Dictionary of Fashion and Fashion Designers, SMU.edu

Signature Silhouettes

1953 Balloon Jacket 1957 Sack Dress / Chemise Dress 1957 Cocoon Coat

The Metropolitan Museum of Art

1957 Baby doll

Signature Silhouettes

1958 Chemise Dress withbelted waist

1963 Cape Jacket1957 Balloon Skirt

The Metropolitan Museum of Art

1960 Egg shaped coat

Why was he influential?

Masterful in everything fromcutting to sewing his own garments

Steered away from the trends thatwere happening in the 19th century

Modern shapes and silhouettesbecame his trademark, gaining himthe reputation of an exceptionaldesigner with daring tastes

Inspired other great couturiers suchas Ungaro and Courreges

New York Daily News, Fashion TV, Metropolitan Museum of Art

“Balenciaga achievedwhat is considered to be

his most importantcontribution to the world

of fashion: a newsilhouette for women”

- Metropolitan Museum of Art

Construction Paid great attention to sleeves

Placed emphasis on comfort

Refused to use machines

Interested in the response of the garmentwhen the woman walked

Preferred embroidering over patterns

“A couturier must be anarchitect for design, a sculptorfor shape, a painter for color,a musician for harmony, anda philosopher for temperance.”

-Cristobal BalenciagaParis Voice

Cutting Techniques Took advantage of the poor

fabric supply during WWIIand elaborated his cuttingtechniques

Techniques allowed him toobtain volumes withoutaccumulating layers ofmaterial

Cut collars to stand awayfrom the collarbone to give a“swanlike appearance”

Cut sleeves in one with thegarment

1955 coat - each sleeve is acontinuation of the fabric ofthe front. Result: smallestpossible number of cuts

One Seam Coat

1950s-1960s taffeta coat withcurving wide neckline

The Metropolitan Museum of Art, Paris Voice, Fashion Encyclopedia, Zimbio, Kyoto Costume InstituteMuslin pattern for One Seam Coat

1955 coat

Draping Techniques

La Descreta Enamorada, Arizona Costume Institute

Draped cocoon coat was oneof his most famous drapedgarments

His draping allowed hisgarments to be elegant onclients without the “perfectbody” - many of his clientswere older women

Known in the draping worldfor his development of silkgazar

Used draping techniquesinspired by Renaissancepainter Francisco deZurbaran

Francisco di Zurbaran (1598-1664) Saint Apollonia

Balenciaga draped dressinspired by di Zurbaran

Sewing Techniques

Began as a seamstress for the Spanisharistocracy at age 12 - learned sewing andtailoring techniques

Minimalist “no seam” jacket, constructed withonly one seam

Used minimal seams in his designs, and madeup for them by using darts and drapingtechniques

1967 Single seam wedding gown

Pins and Needles, The Fashion Spot

Signature TechniquesManipulation of the Waist

BalenciagaFan.com, Shop Vintage Clothing, Museum at FITVarious Sack Dresses

Broadened the shoulders andremoved the waist, totallytransforming the silhouette -diverged from Dior’s hourglass

Especially shown in his 1955 tunicdress and then again in his 1958chemise dress

His manipulation of the waistcontributed to “what is consideredto be his most importantcontribution to the world offashion: a new silhouette forwomen.”

Chemise Dress

Signature TechniquesFocus on the Wrist

De Young Museum, ART Hound

In the 1950s, the wealthy were notnecessarily young

Older ladies could have thickwaists or necks, but the wristswould still be small

The 7/8 length (bracelet) sleevemade the wrist look delicate anddrew the attention there

7/8 Bracelet Sleeve

Fabric

Fashion Encyclopedia, The Golden Age of Couture: Paris & London 1947-57, Icons of Fashion: The 20th Century

Silk Stiff Satin Lace

Wools (faille, mohair) Gazar

Tweed

Fabric Innovative, synthetic fabrics

(1st water-resistant fabric)

Layered fabrics for a uniquelook

Developed his own fabric: silkgazar (stiffer version of silk)

Bold materials, heavy cloths,ornate embroideries

Used fabrics that could formand support his structuredclothing

Combined natural fabrics withman-made materials to createcontrast

Silk Gazar Evening Dress

Four point silk gazar dress

Fashion Encyclopedia, The Golden Age of Couture: Paris & London 1947-57, Icons of Fashion: The 20th Century, Metropolitan Museum of Art

Color

SMU.edu, Adobe Kuler

Embroidery

Preferred to use embroidering over patterns and prints1961 pink taffeta

embroidered tunic

Metropolitan Museum of Art, The Frock

Ivory silk shantung gownwith jewels and beads

Red velvet dress with beadedsleeves

“Balenciaga was the true son of a strong country filledwith style, vibrant color, and a fine history” who

“remained forever a Spaniard. His inspiration camefrom the bullrings, the flamenco dancers, the

fishermen in their boots and loose blouses, the gloriesof the church and the cool of the cloisters and

monasteries. He took their colors, their cuts, thenfestooned them to his own taste.”- Fashion editor Diana Vreeland

Inspiration - Spanish Art

Vintage Fashion Guild, NaturalPigments.com, John Painter’s Blog

1939 Infanta Dress

Goya color palette

1939 Infanta dress is a moderninterpretation of the dresses worn bythe Infanta Margarita in Velazquez’sportraits

Inspiration - Dance

Vintage Fashion Guild, The Spanish Institute, Cutterandtailor.com

Polka dots: bold, traditional print usedin flamenco costumes

Tiers of fabric, ruffles, flounces Fabrics that accentuate movement

1951 Flamenco Inspired Dress

Images from exhibit at TheSpanish Institute

Inspiration - Bullfighting

Vintage Fashion Guild, Spanish Institute

Traditional bolero of thematador

Decorated with embroidery Pom-pom tassels Color palette of matadors

capes: bright fuchsia, deepred, vibrant yellow

Carnation in embroideriesand prints

Jacket with pom-pom tassels Dress with carnations

Inspiration - Regional Dress

Diverse regionalcostumes of Spain

TranslatestraditionalSpanish garmentssuch as a Mantonde Manila intohaute coutureembroideries byLesage

Cloaks and capeswith voluminouslines

Cutterandtailor.com, Examiner.com, Vogue, Metropolitan Museum of Art

Chevrier Des Environs DeValladolid by R. De Leon

1963 Cape JacketWinter 1967 white mink jacketand skirt; inspired by Spanish

wool

Inspiration - Religious Life

John Painter’s Blog, The Art of Avant Garde: Balenciaga Couture, Cutterandtailor.com

Saint Francis Standing inEcstasy by Francisco de

Zurbaran 1950 coat of wool duventine.Draping influenced by monk’s coat

Cardinal Luis MariaDe Borbon YVallabriga by

Francisco De GoyaWinter 1954 evening

coat of scarlet silkottoman. Structure

influenced byCardinal’s uniformBalenciaga was a devout Catholic who was deeply

moved by the everyday dress of the Spanish church

“The history of the house is incredible,which means I can work with a lot of

freedom. Cristobal Balenciaga discoveredso many things, was so inventive, it’s

astonishing. I can work on something andthen look back through the archives and

find it already.”- Nicolas Ghesquiere (1997-present)

Past & Present

Fashion Now 2

Past & PresentRecent Collections

Bubble Cocktail Dress - Silk Taffeta Fall 2004 RTW

Metropolitan Museum of Art, Style.com


Original Balloon Skirt Spring 2006 RTWMetropolitan Museum of Art, Style.com


1967 Wedding Gown 2008 interpretationPins and Needles


Original Fabrics - Silk Gazar Spring 2010 RTW

Metropolitan Museum of Art, Style.com

Molded leather,woven jersey,and nylon foam

Vegetable dyedleather

Hand-loomedfabric, or ameltdown ofblue, white, andgreen strips ofleather, laser-compressed


Original 1966 Trapeze Coat Pre-Fall 2011

Augusta Auctions, Style.com


Original 1965 Wrap Fall 2011 RTW

Augusta Auctions, Style.com

Balenciaga & DiorContrasting Elements

Balenciaga Typically didn’t sketch; he constructed his

garments physically on the body

Didn’t confine himself to traditionalstyles and techniques; researched ways tocreate something new

Didn’t try to change the body - used theshoulders and pelvis as points of support

Had no need for framework and refused touse padding

Rejected stiffeners; added interfacing sothe dress could keep its form when thewearer moved

Focused on comfort and flexibility - afinger’s breadth was left between the skinand the fabric

Dior Started his collections by producing a

series of drawings; didn’t physically workon the dresses

Remolded the body into two mainsilhouettes: Corolle (corolla) and Fuseau(spindle)

Achieved designs by inserting stiffenersinto tulle to create the foundation for hislook

Relied on the bust and waist

Women no longer had freedom of theirbody

Dior copied Balenciaga’s comfortable lookwith his 1957 French Bean Line (flat,vertical look)

Victoria & Albert Museum, The Golden Age of Couture

Balenciaga & Dior

Balenciaga Sack Dress Dior Corolle “New Look” Dior 1954 French Bean Line

Invisiblebooks.com, Metropolitan Museum of Art

Balenciaga & DiorSimilarity - Geometric Shapes

The Golden Age of Couture, Metropolitan Museum of Art

Balenciaga Sculpted fabrics into geometric shapes

Draped fabrics to create unique shapes;worked with the fabric so that he did nothave to add stiffeners, padding, etc.

Liked the sphere

Straight Line; Narrow I-line; VoluminousO-line

Dresses had revolutionary shapes

Dior Lined garments with stiffeners, padding,

and interfacing to create fluid curves andlines

Started working with geometric shapesfollowing his 1954 collection

Figure 8 Line; Vertical line; Oblique line;Oval line

1957 “Promesse” dress

Balenciaga & DiorGeometric Shapes

Balenciaga 1967 geometricdress

Metropolitan Museum of Art

Balenciaga 1967 four pointgazar dress

Dior 1950 Oblique Line Dior 1957 Promesse Dress

Balenciaga & VionnetSimilarities

Balenciaga Rejected the fashion of the times; gave

women a new silhouette other than thewaist synching silhouette that washappening at that time

Master cutter: “With Balenciaga, it allstarted with the sleeve. A square sleeve cutin one piece with the yoke, half with thefront, half with the back.” Used techniquesthat allowed for as few cuts as possible

Created his own fabric: Silk Gazar

Draped garments to create geometricshapes and volume

Madeleine Vionnet Rejected the fashion of the times; in

1907 she got rid of corsets, shortenedhems

Understood cutting, proportion, andshape: all things concerningarchitecture, silhouette, etc.

Created her own fabric: Rosalba Crepe(artificial silk)

Used elaborate draping techniques

Known for draping on the bias

Vionnet.com, telegraph.co.uk

Balenciaga & VionnetDraping

Stylesight, FashionTribes.com, Metropolitan Museum of Art, Vogue

Balenciaga 1950 coat Balenciaga evening dressF/W 1950

Madeleine Vionnet S/S 1937 Madeleine Vionnet 1935dress

“Balenciaga is the onlycouturier. He is the only one

who knows how to cut a fabric,and mount it and sew it withhis own hands. The others are

just draughtsmen.”- Gabrielle “Coco” Chanel

HistoricalEvolution

Balenciaga’s Sack Dress

Mesopotamia3500 - 2500 B.C.

Skirts were the major itemworn by both men andwomen

Wool, fleece or fleece likefabric: kaunakes

Lengths varied: servantsand soldiers wore shorterlengths; royalty and deitieswore longer lengths

Tunic: T-shaped garmentwith openings at the topfor the head and arms

Tunic-type garments werean essential part of dress

Survey of Historic Costume

Mosaic showing Ancient Mesopotamian tunics

Wool Kaunakes Mesopotamian Tunic

Ancient Egypt3000 - 300 B.C.

Most frequently usedcostume for women was thesimple sheath dress - tube offabric beginning above orbelow the breasts and endingaround the lower calf

Two shoulder straps held thedress up

Women, like men, woreloosely fitted tunics

Womenintheancientworld.com, Ancient Egypt Online, Survey of Historic Costume

Minoans / Mycenaeans2900 - 1150 B.C.

Tailored, cut, and sewn to fit the body more closely, ratherthan draped

Loincloth: a fitted garment that covered approx. the samearea as a pair of modern athletic shorts

Women’s skirts were bell shaped and had 2-3 forms: Fitted at the waist, flared gently to the ground Series of horizontal or V-shaped ruffles Decorative bands at the hem

Apron-like garments were worn by women on top of skirts Men and women wore T-shaped tunics (women: long, men:

short)

Survey of Historic Costume, Britannica

3 Minoan skirt examples

Loincloth

Greeks800 - 300 B.C.

Garment before the tunicwas the chiton - singularrectangular fabric wrappedaround the body; secured atshoulders with one or morepins

Shawls or cloaks were placedover the chiton

Made great use of drapingfabrics


Chiton Chiton with shawl

Romans500 B.C. - 300 A.D.

Romans called the mostbasic chiton a tunic (adoptedfrom Greeks)

Earliest toga was drapedfrom a length of white woolfabric

During the 3rd centurytunics lengthened andcovered the lower leg

In the declining RomanEmpire, the dalmatic wasthe new variant of the tunic Fuller than earlier tunics

and had long, wide sleeves

Make greater use of cuttingand sewing

Used more ornamentation


Tunic Woman’s toga Dalmatic

ByzantineA.D. 300 - 1453 Roman tunic continued

in Byzantine Empire Wide, long-sleeved

tunic replaced the outertunic; was worn over anunder tunic Under tunic had long

fitted sleeves Outer tunic had full,

open sleeves cut shortenough to displayunder tunic sleeves

Palla was wrappedaround the body;covered the upper partof the skirt, the bodice,and either one or bothshoulders

After A.D. 1000ornamentationincreased


Mosaic depicting women wearing white under tunics of the 6th century

Merovingian & CarolingianFall of Roman Empire - A.D. 900

Women wore layered tunics Draped garments were replaced

by pieces that were cut and sewntogether

Linen and wool were produced Loose-fitting shawls or pallalike

draperies over tunics Linen shift or chemise was worn

closest to the body Knee length under tunic Long, outer tunic

Strong Byzantine influences


Middle Ages10th and 11th centuries

10th century medievalclothing was influenced byclassical Greek and Romandress

Women wore loose-fittingchemise (like man’sundershirt) Under tunic worn over

chemise Floor-length outer tunic

with wide sleeves, allowingunder tunic to show

eHow.com, Probert Encyclopedia of Costume, Survey of Historic Costume

Middle Ages12th century

Tunic fit more closely that previouscenturies Bliaut: tightly fitted one-piece garment Bliaut girone: close fitting garment

with an upper section joined to a skirt

Sleeves tightened at the wrist, wideningthe shoulder

Chemise tightened Tunic was secured at the waist

eHow.com, Probert Encyclopedia of Costume, Survey of Historic Costume

13th century - 16th century

Tight bodices Form-fitting jackets Luxury and embellishment

was added Fuller dresses with shorter

trains Shorter and tighter at the

waist Long sleeves Padding of whalebone and

steel added to create fullness

eHow.com

Italian Renaissance15th and 16th centuries

15th century Venetian womenwore gowns with waistline justbelow the bosom 2nd half of 16th century: normal

waistlines in back, dipped U-shape in front

Chemise was worn as anundergarment beneath a dresswith a second over dress on top

Chemise (camicia in Italian)made of linen Sleeves were generally long Peasants were shown wearing

them to work Skirts were long

16th century styles becamesubject to Spanish and Frenchinfluences


Baroque Period17th century

Chemises and under-petticoats (chemise showedslightly at the neckline and atthe edge of sleeves)

Mantua - originally a loosegown; later an overgown orrobe

Bodice and skirt were cut inone length from shoulder tohem

Skirts were composed ofseveral layers So heavy they often required

support from whalebone,metal, or other supports

Elbow-length, cuffed sleeves

Fashion-Era.com, Survey of Historic Costume

Rococo Era18th century

Free falling and loose

After 1705 it was called the FrenchSack Dress, Sack Dress, or chemise

Likely developed from the overgownof the 17th century

Full elbow length sleeves until mid-century

At the second half of the century thesleeves became narrow to match theempire style

Fashion-Era.com, Marariley.net

Directoire & Empire Periods18th and 19th centuries

Moved to hoop skirts and thecrinoline style shift dress

Ankle length or floor sweeping Corsets were placed over the chemise

eHow.com

Romantic Period19th century

Transition between Empire andnewer Romantic styles

Change in waistline graduallytook place

Chemise was an undergarment Wide, knee length, short

sleeves

Emphasis was placed on asmall waist

Bustles, small down or cotton-filled pads that tied around thewaist at the back, held outskirts

Waistlines were straight Skirt lengths shortened about

1828

Survey of Historic Costume, Hungarian Museum

Crinoline Period19th century

Women’s silhouette fits closelythrough the bodice to the waist,then the skirt widens to a fullround or dome shape

Chemise was an undergarmentworn under a corset Short sleeved, knee-length

Camisole or corset cover wasplaced over the corset

Whalebone or steel hoops weresewn into a fabric skirt to makea hoop skirt or “cage crinoline”

Survey of Historic Costume, Victoriana Magazine

20th century1920s

Flapper dress was a simple shift dresswith glitz

Hemlines were rising

eHow.com, Etsy

1920s flapper dress

20th century1950s

Balenciaga sack dress Simple, loose style Opposite of the more common

nipped-waist look that designers likeDior were doing

Sleeves cut in one with the yoke Round neck Looked forward to the 1960s shift

dress

Victoria and Albert Museum, Metropolitan Museum of Art

Balenciaga 1950s sack dress

20th century1960s

“Mod” style shift dress Non tapered waist Printed with psychedelic

flowers and bold prints Lilly Pulitzer came out

with the “Lilly” shiftdress which is stillproduced today

eHow.com, Metropolitan Museum of Art, Etsy

1965 Yves Saint Laurent“Mondrian” Day Dress

1960s Lilly Pulitzer “Lilly” shiftdress

20th century1980s

Combined with jerseymaterial

Worn over a shirt creating ajumper

Etsy, Victoria and Albert Museum, eHow.com

1980s jumper style shift dress

21st centuryPresent day examples

Style.com, Concrete Loop

Michelle Obama wearing a shift dress in herfirst photograph as the first lady

Balenciaga Fall 2010 shift dress

A designer must be naturalin order for everything totruly come from within

you.”-Cristobal Balenciaga

Documents

Balenciaga