Paris Fashion Week: Balenciaga, Givenchy
The creative director of the Balenciaga Fashion House, Demna Gvasalia, noted that the last few seasons of praise were holding back his creativity and this time he wanted to be “more Demna and less Balenciaga”.
“Fashion is a reflection of how we live,” – says the designer Demna Gvasalia, “I wanted to convey the feeling that something terrible must happen.”
On the podium of Balenciaga there were a twilight and an alarming music. For the spring / summer season 2018, Demna Gvasalia chose experiments with prints. Floral prints, floral motifs and natural landscapes could be seen on leather pants, and the sunset was transferred to synthetic tights, which in just one season turned into a must have from Balenciaga. On dresses and shirts, you could see prints featuring money and a strip of yellow press.
Bright leopard prints and flowers came complete with branded bags. In addition, Demna Gvasalia decided to rebrand the Fashion House. So the logo of Balenciaga became visually shorter and was depicted on a gray background.
Long jackets, coats, caches, knitted huge sweaters, silk skirts and tops complemented the collection. Demna Gvasalia created his version of fashionable Crocs. Rubber sandals in pink, gray and yellow colors have got a 10-centimeter platform and are decorated with removable badges of different shapes.
The new creative director of the Givenchy Fashion House, Clare White Keller, presented her debut collection. A British designer who previously held the post of creative director in Fashion house Chloé inherited the place of Riccardo Tisci, who left Givenchy in February of this year after 12 years of work.
Riccado Tisci was able to turn Givenchy into one of the brightest fashion houses in Paris. At the same time, the designer never turned to the archives. But Clare White Keller went the other way. Creating a collection, she turned to the dynamic sketches of the founder of the Fashion House Hubert de Givenchy. Clare White Keller came to the conclusion that the designer took the beginning of his suit from his shoulders, and also he was a fan of graphic printing. The designer chose two options: the 1961’s clover and the 1981’s animal motifs. Her color prints also came from archives: a lot of black and white, mint and red.