Balenciaga

History of Fashion Design

Rachel Bergan Spring 2012

Balenciagas innovative silhouettes, use of fabrics, and strong attention to detail made him 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 Baby doll

1957 Cocoon Coat

The Metropolitan Museum of Art

Signature Silhouettes

1957 Balloon Skirt

1958 Chemise Dress with belted waist

1960 Egg shaped coat

1963 Cape Jacket

The Metropolitan Museum of Art

Why was he inuential?

Balenciaga achieved what is considered to be his most important contribution to the world of fashion: a new silhouette for women
- Metropolitan Museum of Art

Masterful in everything from cutting to sewing his own garments Steered away from the trends that were happening in the 19th century Modern shapes and silhouettes became his trademark, gaining him the reputation of an exceptional designer with daring tastes Inspired other great couturiers such as Ungaro and Courreges

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

Construction
Paid great attention to sleeves Placed emphasis on comfort Refused to use machines Interested in the response of the garment when the woman walked Preferred embroidering over patterns

A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance.
-Cristobal Balenciaga
Paris Voice

Cutting Techniques
Took advantage of the poor fabric supply during WWII and elaborated his cutting techniques Techniques allowed him to obtain volumes without accumulating layers of material Cut collars to stand away from the collarbone to give a swanlike appearance Cut sleeves in one with the garment 1955 coat - each sleeve is a continuation of the fabric of the front. Result: smallest possible number of cuts One Seam Coat

1950s-1960s taffeta coat with curving wide neckline

Muslin pattern for One Seam Coat

1955 coat

The Metropolitan Museum of Art, Paris Voice, Fashion Encyclopedia, Zimbio, Kyoto Costume Institute

Draping Techniques
Draped cocoon coat was one of his most famous draped garments His draping allowed his garments to be elegant on clients without the perfect body - many of his clients were older women Known in the draping world for his development of silk gazar Used draping techniques inspired by Renaissance painter Francisco de Zurbaran

Francisco di Zurbaran (15981664) Saint Apollonia

Balenciaga draped dress inspired by di Zurbaran

La Descreta Enamorada, Arizona Costume Institute

Sewing Techniques

Began as a seamstress for the Spanish aristocracy at age 12 - learned sewing and tailoring techniques Minimalist no seam jacket, constructed with only one seam Used minimal seams in his designs, and made up for them by using darts and draping techniques

1967 Single seam wedding gown

Pins and Needles, The Fashion Spot

Signature Techniques
Manipulation of the Waist
Broadened the shoulders and removed the waist, totally transforming the silhouette diverged from Diors hourglass Especially shown in his 1955 tunic dress and then again in his 1958 chemise dress His manipulation of the waist contributed to what is considered to be his most important contribution to the world of fashion: a new silhouette for women.

Chemise Dress

Various Sack Dresses

BalenciagaFan.com, Shop Vintage Clothing, Museum at FIT

Signature Techniques
Focus on the Wrist
In the 1950s, the wealthy were not necessarily young Older ladies could have thick waists or necks, but the wrists would still be small The 7/8 length (bracelet) sleeve made the wrist look delicate and drew the attention there

7/8 Bracelet Sleeve

De Young Museum, ART Hound

Fabric

Silk

Stiff Satin

Lace

Tweed

Wools (faille, mohair)

Gazar

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

Fabric
Innovative, synthetic fabrics (1st water-resistant fabric) Layered fabrics for a unique look Developed his own fabric: silk gazar (stiffer version of silk) Bold materials, heavy cloths, ornate embroideries Used fabrics that could form and support his structured clothing Combined natural fabrics with man-made materials to create contrast

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 prints

Metropolitan Museum of Art, The Frock

1961 pink taffeta embroidered tunic

Ivory silk shantung gown with jewels and beads

Red velvet dress with beaded sleeves

Balenciaga was the true son of a strong country filled with style, vibrant color, and a fine history who remained forever a Spaniard. His inspiration came from the bullrings, the flamenco dancers, the fishermen in their boots and loose blouses, the glories of the church and the cool of the cloisters and monasteries. He took their colors, their cuts, then festooned them to his own taste. - Fashion editor Diana Vreeland

Inspiration - Spanish Art

Goya color palette 1939 Infanta dress is a modern interpretation of the dresses worn by the Infanta Margarita in Velazquezs portraits

1939 Infanta Dress

Vintage Fashion Guild, NaturalPigments.com, John Painters Blog

Inspiration - Dance

Images from exhibit at The Spanish Institute

Polka dots: bold, traditional print used in flamenco costumes Tiers of fabric, ruffles, flounces Fabrics that accentuate movement

1951 Flamenco Inspired Dress

Vintage Fashion Guild, The Spanish Institute, Cutterandtailor.com

Inspiration - Bullghting
Traditional bolero of the matador Decorated with embroidery Pom-pom tassels Color palette of matadors capes: bright fuchsia, deep red, vibrant yellow Carnation in embroideries and prints

Jacket with pom-pom tassels

Dress with carnations

Vintage Fashion Guild, Spanish Institute

Inspiration - Regional Dress

Diverse regional costumes of Spain Translates traditional Spanish garments such as a Manton de Manila into haute couture embroideries by Lesage Cloaks and capes with voluminous lines
Chevrier Des Environs De Valladolid by R. De Leon Winter 1967 white mink jacket and skirt; inspired by Spanish wool 1963 Cape Jacket

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

Inspiration - Religious Life

Saint Francis Standing in Ecstasy by Francisco de Zurbaran 1950 coat of wool duventine. Draping influenced by monks coat

Cardinal Luis Maria De Borbon Y Vallabriga by Francisco De Goya

Balenciaga was a devout Catholic who was deeply moved by the everyday dress of the Spanish church

Winter 1954 evening coat of scarlet silk ottoman. Structure influenced by Cardinals uniform

John Painters Blog, The Art of Avant Garde: Balenciaga Couture, Cutterandtailor.com

Past & Present

The history of the house is incredible, which means I can work with a lot of freedom. Cristobal Balenciaga discovered so many things, was so inventive, its astonishing. I can work on something and then look back through the archives and nd it already.
- Nicolas Ghesquiere (1997-present)
Fashion Now 2

Past & Present

Recent Collections

Bubble Cocktail Dress - Silk Taffeta

Fall 2004 RTW

Metropolitan Museum of Art, Style.com

Past & Present

Recent Collections

Original Balloon Skirt

Spring 2006 RTW

Metropolitan Museum of Art, Style.com

Past & Present

Recent Collections

1967 Wedding Gown

2008 interpretation
Pins and Needles

Past & Present

Recent Collections
Molded leather, woven jersey, and nylon foam

Vegetable dyed leather

Hand-loomed fabric, or a meltdown of blue, white, and green strips of leather, lasercompressed Original Fabrics - Silk Gazar Spring 2010 RTW
Metropolitan Museum of Art, Style.com

Past & Present

Recent Collections

Original 1966 Trapeze Coat

Pre-Fall 2011
Augusta Auctions, Style.com

Past & Present

Recent Collections

Original 1965 Wrap

Fall 2011 RTW

Augusta Auctions, Style.com

Balenciaga & Dior

Contrasting Elements
Balenciaga
Typically didnt sketch; he constructed his garments physically on the body Didnt confine himself to traditional styles and techniques; researched ways to create something new Didnt try to change the body - used the shoulders and pelvis as points of support Had no need for framework and refused to use padding Rejected stiffeners; added interfacing so the dress could keep its form when the wearer moved Focused on comfort and flexibility - a fingers breadth was left between the skin and the fabric

Dior
Started his collections by producing a series of drawings; didnt physically work on the dresses Remolded the body into two main silhouettes: Corolle (corolla) and Fuseau (spindle) Achieved designs by inserting stiffeners into tulle to create the foundation for his look Relied on the bust and waist Women no longer had freedom of their body Dior copied Balenciagas comfortable look with 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 & Dior

Similarity - Geometric Shapes
Balenciaga
Sculpted fabrics into geometric shapes Draped fabrics to create unique shapes; worked with the fabric so that he did not have to add stiffeners, padding, etc. Liked the sphere Straight Line; Narrow I-line; Voluminous O-line Dresses had revolutionary shapes

Dior
Lined garments with stiffeners, padding, and interfacing to create fluid curves and lines Started working with geometric shapes following his 1954 collection Figure 8 Line; Vertical line; Oblique line; Oval line 1957 Promesse dress

The Golden Age of Couture, Metropolitan Museum of Art

Balenciaga & Dior

Geometric Shapes

Balenciaga 1967 geometric dress

Balenciaga 1967 four point gazar dress

Dior 1950 Oblique Line

Dior 1957 Promesse Dress

Metropolitan Museum of Art

Balenciaga & Vionnet

Similarities
Balenciaga
Rejected the fashion of the times; gave women a new silhouette other than the waist synching silhouette that was happening at that time Master cutter: With Balenciaga, it all started with the sleeve. A square sleeve cut in one piece with the yoke, half with the front, half with the back. Used techniques that allowed for as few cuts as possible Created his own fabric: Silk Gazar Draped garments to create geometric shapes and volume

Madeleine Vionnet
Rejected the fashion of the times; in 1907 she got rid of corsets, shortened hems Understood cutting, proportion, and shape: all things concerning architecture, 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 & Vionnet

Draping

Balenciaga 1950 coat

Balenciaga evening dress F/W 1950

Madeleine Vionnet S/S 1937

Madeleine Vionnet 1935 dress

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

Balenciaga is the only couturier. He is the only one who knows how to cut a fabric, and mount it and sew it with his own hands. The others are just draughtsmen.
- Gabrielle Coco Chanel

Historical Evolution
Balenciagas Sack Dress

Mesopotamia
3500 - 2500 B.C.
Mosaic showing Ancient Mesopotamian tunics

Skirts were the major item worn by both men and women Wool, fleece or fleece like fabric: kaunakes Lengths varied: servants and soldiers wore shorter lengths; royalty and deities wore longer lengths Tunic: T-shaped garment with openings at the top for the head and arms Tunic-type garments were an essential part of dress

Wool Kaunakes

Mesopotamian Tunic

Survey of Historic Costume

Ancient Egypt
3000 - 300 B.C.
Most frequently used costume for women was the simple sheath dress - tube of fabric beginning above or below the breasts and ending around the lower calf Two shoulder straps held the dress up Women, like men, wore loosely fitted tunics

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

Minoans / Mycenaeans
2900 - 1150 B.C.

3 Minoan skirt examples

Tailored, cut, and sewn to fit the body more closely, rather than draped Loincloth: a fitted garment that covered approx. the same area as a pair of modern athletic shorts Womens 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
Loincloth

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

Greeks
800 - 300 B.C.
Garment before the tunic was the chiton - singular rectangular fabric wrapped around the body; secured at shoulders with one or more pins Shawls or cloaks were placed over the chiton Made great use of draping fabrics
Chiton Chiton with shawl

Survey of Historic Costume

Romans
Romans called the most basic chiton a tunic (adopted from Greeks) Earliest toga was draped from a length of white wool fabric During the 3rd century tunics lengthened and covered the lower leg In the declining Roman Empire, the dalmatic was the new variant of the tunic
Fuller than earlier tunics and had long, wide sleeves

500 B.C. - 300 A.D.

Make greater use of cutting and sewing Used more ornamentation

Tunic

Womans toga

Dalmatic

Survey of Historic Costume

Byzantine
Roman tunic continued in Byzantine Empire Wide, long-sleeved tunic replaced the outer tunic; was worn over an under tunic
Under tunic had long fitted sleeves Outer tunic had full, open sleeves cut short enough to display under tunic sleeves

A.D. 300 - 1453

Palla was wrapped around the body; covered the upper part of the skirt, the bodice, and either one or both shoulders After A.D. 1000 ornamentation increased

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

Survey of Historic Costume

Merovingian & Carolingian

Fall of Roman Empire - A.D. 900
Women wore layered tunics Draped garments were replaced by pieces that were cut and sewn together 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

Survey of Historic Costume

Middle Ages
10th and 11th centuries
10th century medieval clothing was influenced by classical Greek and Roman dress Women wore loose-fitting chemise (like mans undershirt)
Under tunic worn over chemise Floor-length outer tunic with wide sleeves, allowing under tunic to show

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

Middle Ages
12th century
Tunic fit more closely that previous centuries
Bliaut: tightly fitted one-piece garment Bliaut girone: close fitting garment with an upper section joined to a skirt

Sleeves tightened at the wrist, widening the 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 Renaissance
15th and 16th centuries
15th century Venetian women wore gowns with waistline just below the bosom
2nd half of 16th century: normal waistlines in back, dipped Ushape in front

Chemise was worn as an undergarment beneath a dress with 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 became subject to Spanish and French influences

Survey of Historic Costume

Baroque Period
17th century
Chemises and underpetticoats (chemise showed slightly at the neckline and at the edge of sleeves) Mantua - originally a loose gown; later an overgown or robe Bodice and skirt were cut in one length from shoulder to hem Skirts were composed of several 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 Era
18th century
Free falling and loose After 1705 it was called the French Sack Dress, Sack Dress, or chemise Likely developed from the overgown of the 17th century Full elbow length sleeves until midcentury At the second half of the century the sleeves became narrow to match the empire style

Fashion-Era.com, Marariley.net

Directoire & Empire Periods

18th and 19th centuries
Moved to hoop skirts and the crinoline style shift dress Ankle length or floor sweeping Corsets were placed over the chemise

eHow.com

Romantic Period
19th century
Transition between Empire and newer Romantic styles Change in waistline gradually took place Chemise was an undergarment
Wide, knee length, short sleeves

Emphasis was placed on a small waist Bustles, small down or cottonfilled pads that tied around the waist at the back, held out skirts Waistlines were straight Skirt lengths shortened about 1828
Survey of Historic Costume, Hungarian Museum

Crinoline Period
19th century
Womens silhouette fits closely through the bodice to the waist, then the skirt widens to a full round or dome shape Chemise was an undergarment worn under a corset
Short sleeved, knee-length

Camisole or corset cover was placed over the corset Whalebone or steel hoops were sewn into a fabric skirt to make a hoop skirt or cage crinoline

Survey of Historic Costume, Victoriana Magazine

20th century
1920s
Flapper dress was a simple shift dress with glitz Hemlines were rising

1920s flapper dress

eHow.com, Etsy

20th century
1950s
Balenciaga sack dress Simple, loose style Opposite of the more common nipped-waist look that designers like Dior were doing Sleeves cut in one with the yoke Round neck Looked forward to the 1960s shift dress

Balenciaga 1950s sack dress

Victoria and Albert Museum, Metropolitan Museum of Art

20th century
1960s
Mod style shift dress Non tapered waist Printed with psychedelic flowers and bold prints Lilly Pulitzer came out with the Lilly shift dress which is still produced today

1965 Yves Saint Laurent Mondrian Day Dress

1960s Lilly Pulitzer Lilly shift dress

eHow.com, Metropolitan Museum of Art, Etsy

20th century
1980s
Combined with jersey material Worn over a shirt creating a jumper

1980s jumper style shift dress

Etsy, Victoria and Albert Museum, eHow.com

21st century
Present day examples

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

Balenciaga Fall 2010 shift dress

Style.com, Concrete Loop

A designer must be natural in order for everything to truly come from within you.
-Cristobal Balenciaga