PFW S/S13: Balenciaga

Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13 Balenciaga SS13
By Kristin Knox September 28, 2012
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Balenciaga SS13
Minimalism is an aesthetic that surprisingly agrees with Nicolas Ghesquiere, though it may not be among the foremost of his go-to influences. So long as he keeps an eye to a futuristic edge and a fine attention to cut and shape, no foray is too farfetched for one of Paris' premier wunderkinds. It was pared back, with plenty of attitude, just the schtick for the droves of worshipers at the brand's altar who were beginning to tire of what animal would be screen printed onto a tee-shirt next. It was all about cool, modern, flesh-revealing separates. The opening look was a sort of bandeau-meets-bandage, wrap around white bustier top paired with a pair of slack cut trousers in effortlessly chic black. A simple, streamlined kind of cool, the message was less to do with the actual shape of the clothes as it was the way they molded to the model's body. Underpinned by a kind of sporty aesthetic, black crepe de chine dresses belled at sleeves or turned up at the hip with asymmetrical white or pops of pink lined flamenco-ruffles, creating ultra-feminine silhouettes without losing that Balenciaga edge. Asymmetrical skirts of the same (one side thigh-skimming, the other side floor) saw ruffles presented to an almost sculptural degree, remaining static despite the dynamics of the models' walks. Paired bluntly square crop tops, sharp cut sleeveless jackets and pixelated tweed, the looks had a sport sass about them that registered at once sophisticated and young. Suiting was sharply, but not too slimlu cut, with double breasted chauffeur jackets complete with gaping rectangular pockets thrown over more the bandeau tops, instantly updating suiting to a new level of sexy. There were flimsy little black dresses with white piping and short and versions of the same in periwinkle worn over white three-quarter length shirts pinafore style, belted coat dresses with perforated hemlines and perfectly cut cylindrical sleeves. As ever, the play of proportion cemented the success of the collection, with Ghesquiere has an uncanny ability for slicing and dicing fabric in ways generous and sparing to create new perpetually self-renewing shapes and silhouettes. Perhaps as evidenced by the face of the house's new fragrance causing an unprecedented front row stir, the one and only Kristen Stewart, the collection was among Ghesquiere's most modern and accessible yet.
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