이번 컬렉션은 하나의 감정에서 시작되었습니다.

우리는 서로를 알아가고, 이해하는 과정을 함께하며 이 컬렉션을 완성했습니다.

새로운 단어와 시대를 초월한 언어가 공존하는 우리만의 언어를 만들어 나갔습니다.

끊임없이 탐구하고, 시도하며, 기억했습니다.

이번 컬렉션은 아틀리에에서 함께한 모든 사람들의 노력으로 탄생했습니다.

그들은 곧 쿠틔르입니다. 쿠틔르는 그것을 살아가는 사람들이 만들어내는 것이기 때문입니다.

이 글은 그들의 시간과 사랑, 그리고 헌신에 감사의 마음을 전하기 위한 것입니다.

이것은 우리의 컬렉션입니다.

이것은 우리의 작업입니다.

이것이 지금의 발렌시아가 쿠틔르입니다.

– PP

An embrace of Balenciaga’s principles, as a Maison de Couture—rooted in its axioms, its anomalies, its truths. The 55th Balenciaga Couture collection, the first conceived by Creative Director Pierpaolo Piccioli, is a celebration of the intent and essence of Balenciaga, grounded in the actuality of this métier. The notion of Couture, the nature of Couture, entirely reconsidered for our contemporaneity.

Couture as information—a manner of creation that may orientate both the actions and reactions of a House. A territory for experimentation and engineering, it can be a prism through which to witness both the current moment, and the identity of Balenciaga. A fundamentalism—Couture here is once again placed at the center of the House’s meaning, shaping its being.

LOOKBOOK

Change comes from inside. Silhouettes are sculpted through architecture, the cut and fall of fabric determining their physicality and harmonies with the humans within, reshaped and reformed. A sequence of tailored coats and dresses in cashmere are based on three-dimensional digital scanning of individuals, adapting their attitudes into poses that then form a basis for molding leather as internal carapaces, affording architectonic structure and improbable lightness. Breaking from inside, decoration unfolds at hem or within lapels, contrasting with external rigor.

THE SET

An evolution of heritage. Balenciaga’s tradition of textile innovation is underscored by the introduction of AMSilk, an advanced bioengineered silk alternative, to Couture. Created via DNA editing and laboratorial protein engineering, AMSilk is fossil fuel-free and renewable: its fibers resemble spider’s silk, with a tensile strength 2.5 times that of steel. The House’s neo-gazar—a reconsideration of the material invented by Cristóbal Balenciaga, reintroduced in Pierpaolo Piccioli’s début—is used as both outer fabric and an internal structure, its paradoxical combination of lightness and structure affecting the clothes around. In certain instances, outfits are reiterated, in the second instance reduced to pure expressions of silhouette in black, like shadows, to reset the eye and emphasize shape and form. These are outward expressions of the architectures that define Couture.

The achievement of impossibilities. Feathers are a metaphor—weightless, delicate, yet with tensile strength. Embroideries become structural, integral. A collaboration with Philip Treacy results in sculptural forms in feather that question the boundaries between millinery and garment.

BACKSTAGE

History is past, there is no rigid translation—yet all reflects the ideology of Cristóbal Balenciaga, resonates with his meaning. A reconsideration of the body, its form, its rapport with a garment. A fundamentalism, an echo of belief systems, rather than superficiality. His freedom. The inherent dichotomies of his work are embodied by garments that shift between austerity and exuberance, while others melt tailoring into flou, fusing two noble traditions in an exacting pursuit of lightness.

Balenciaga’s obsession with three dimensionalities, with Couture as true sculpture, results in forms that must be viewed in 360-degrees to be truly understood.

A philosophy of Couture can inform an instinctive mindset, to nurture a house today.

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