Through The Keyhole

50/50 London must see: the mysterious innovator who shaped fashion

The V&A Museum will open the first UK exhibition exploring the work and influence of the Spanish couture master Cristóbal Balenciaga this Saturday. ‘Balenciaga: Shaping Fashion’ celebrates the centenary of the first fashion house opened by the designer (not hard to count – it was back in 1917), focusing as the curator Cassie Davies-Strodder said, ‘on 50’s and 60’s  – his most creative period.’

The collection contains around 100 pieces by Balenciaga and the designers who in their creations were and still are preserving his heritage – Molly Goddard, Oscar de la Renta, Emanuel Ungaro, Paco Rabanne. Who was Cristóbal  Balenciaga and how did he influence the fashion and its forms as we know them today?


Silk taffeta dress, Paris, 1954

The young Cristóbal started developing a keen eye for fashion at the age of 11 while helping his seamstress mother who worked for the Spanish high society. He then joined a tailoring firm as an apprentice at the age of 12. How? One of the most influential noblewoman from his hometown of Getaria, Marquesa of Casa Torres, was so impressed by his talent that she sent him to Madrid where the boy was formally trained.

At the dawn of the Spanish Civil War in 1936, the designer was forced to close his boutiques in Spain and move to Paris, where he opened his couture house on Avenue George V in 1937. Balenciaga shared the fashion stage with his contemporaries – Cristian Dior, Coco Chanel, yet evolving a unique approach to silhouettes and cuts – broadening the shoulders, sculpting box shapes and removing the emphasis on the waist, complimenting women’s bodies of different size and shape. The designer who was referred as ‘the Master’ by his staff, created immortal pieces as the balloon jacket, the cocoon coat, the Peacock tail dress, the semi-fitted suit, the tunic, the baby doll dress just to name a few.


Balenciaga’s work still inspires contemporary designers

Not only his designs stood out from the fashion crowd. So did Balenciaga’s models who were holding a specific ‘title’ … ‘the monsters’. They were given strict instructions by the master Balenciaga himself, including no smiling and making eye contacts with the customers.

While his designs were called innovative and loud, Balenciaga avoided any attention and publicity. He was watching his shows behind a curtain and never came out to take a bow. The only journalist who was ever granted Cristóbal’s interview was Prudence Glyn from The Times back in 1971. She wrote: ‘In post-war fashion, Dior became a household word through the influence of the New Look, but for the purists there was only one proper direction in which to bow, Cristóbal Balenciaga’.


Balenciaga in his office (C. Beaton archives)

While some of his elite clients included the Duchess of Windsor, Mona Bismarck (who locked herself away in her villa in Italy for three days while mourning the closure of his fashion house), Ava Gardner, Marella Agnelli, Balenciaga took the Air France in-flight coordinators under his wings. He designed their uniforms in 1968 before retiring from the fashion industry in the same year. The designer’s swan song was a wedding dress for the future Duchess of Cadiz, Maria del Carmen Martinez-Bordiu in 1972. He passed away 16 days after the wedding.

Although Balenciaga is long gone, his heritage – the variety of silhouettes, cuts, and the idea of celebrating women’s bodies while throwing a white glove to tiny wasp waists is very much alive, and still altering the industry. For generations to come.

‘Balenciaga: Shaping Fashion’ is at the V&A from 27 May 2017 – 18 February 2018. 

Through The Keyhole

Happy birthday: celebrating Vogue

September. 1916. Hand-painted cover picturing three ladies resting in a “L’automne” tent and a mannequin in the center. This illustration marked the beginning of the fashion Bible’s era. And Vogue is celebrating its centenary in style with a new exhibition Vogue 100: A Century of Style at the National Portrait Gallery.

At the time of the First World War, which made transatlantic shipments of the American Vogue impossible, Condé Nast created a British edition. And it was immediately welcomed by the readers exhausted from austerity.

Even though it is an early Thursday morning, the gallery packed with people proves that the charm of vogue lifestyle is still very much alive.

Bringing optimism and timeless beauty to war threatened lives, documenting the popping colours from “Swinging London” in the sixties to minimalism in the twenty-first century, the magazine gave a platform for talented photographers like Cecil Beaton, Nick Knight, Irving Penn, David Bailey, Mario Testino and more.


Cecil Beaton (Vogue archive)

If you still think that this is a magazine for dumdums (yes, I know, some of you do), then celebrate photography at its best. The heritage which is immortal.

“I am incredibly proud of this collection of exceptional photography and of the whole concept of the exhibition, which shows the breadth and depth of the work commissioned by the magazine as well as Vogue’s involvement in the creation of that work,” said Alexandra Shulman, the editor-in-chief of British Vogue.

A small hint: over 800 pictures, including rare shots of Kate Moss, Jude Law, Princess Diana, The Beatles and more.

Vogue 100: A Century of Style, National Portrait Gallery, London, 11 February – 22 May 2016, sponsored by Leon Max.


Ode to textures: Burberry triumphs in LFW

There was a time when fashion magazines, textures and patterns were alien to me. But it was about to change, when back in 2010 I was glued to a computer screen immersing my eyes in tres British fashion show. Show where models were storming the catwalk wearing metallic leather trench coats and immaculate lace dresses in Hubba Bubba pastels.

London Fashion Week. 1 pm. Kensington gardens. Hundreds of guests are getting seated in a spacious marquee on khaki painted benches and curtains are drawn to close prompting the show to start. Lights go off. And subtle accords of Jake Bugg playing the guitar can be heard in the show space.


Tick tock.. A few minutes until the show will start

This LFW mister Bailey presented a collection which was inspired by British musicians (you could recognise Bowie’s influence in the first ensemble presented by supermodel Eddie Campbell), artists and history. The Autumn/winter show was an ode to the best of British. “All things I love,” the designer said backstage.

Patchwork was delicately crafted from different fabrics (gabardine, brocade) and colours – from khaki, navy blue to mustard (new palette for the next cold season? Yes). Monochrome military trench coat and aviator jacket ensembles were followed by finely sequinned sparkly and fringed dresses, mini skirts with high splits, office pants with subtle snake pattern stripe on the side, dreamy floral dresses matched with military boots and high-heeled brogues.


Christopher Bailey backstage

Conclusion: wearable, colourful and beautifully crafted. Oh, and it can’t be too many trench coats in one’s closet, right?

Cover picture: Burberry.