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Balenciaga

History of Fashion Design


Rachel Bergan Spring 2012
Balenciaga's innovative silhouettes, use of fabrics, and strong attention to detai
l made him a leading designer in the 20th century.
Timeline
1895 born in Guetaria, Spain Until 1918 educated in fashion by mother 1930s Span
ish 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 Ghesq
uiere 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 t
he world of fashion: a new silhouette for women
- Metropolitan Museum of Art
Masterful in everything from cutting to sewing his own garments Steered away fro
m the trends that were happening in the 19th century Modern shapes and silhouett
es became his trademark, gaining him the reputation of an exceptional designer w
ith 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 machin
es Interested in the response of the garment when the woman walked Preferred emb
roidering 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 appe
arance Cut sleeves in one with the garment 1955 coat - each sleeve is a continuat
ion of the fabric of the front. Result: smallest possible number of cuts One Sea
m 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 allowe
d his garments to be elegant on clients without the perfect body - many of his cli
ents were older women Known in the draping world for his development of silk gaz
ar 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 Us
ed 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 silhouet
te diverged from Dior's hourglass Especially shown in his 1955 tunic dress and the
n again in his 1958 chemise dress His manipulation of the waist contributed to wh
at 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 thi
ck 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 o
f 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 s
upport 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 o
f 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 to
ok their colors, their cuts, then festooned them to his own taste. - Fashion edit
or Diana Vreeland
Inspiration - Spanish Art
Goya color palette 1939 Infanta dress is a modern interpretation of the dresses
worn by the Infanta Margarita in Velazquez's portraits
1939 Infanta Dress
Vintage Fashion Guild, NaturalPigments.com, John Painter's Blog
Inspiration - Dance
Images from exhibit at The Spanish Institute
Polka dots: bold, traditional print used in flamenco costumes Tiers of fabric, r
uffles, 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 Colo
r 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 duv
entine. Draping influenced by monk's 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 t
he Spanish church
Winter 1954 evening coat of scarlet silk ottoman. Structure influenced by Cardin
al's uniform
John Painter's Blog, The Art of Avant Garde: Balenciaga Couture, Cutterandtailor.c
om
Past & Present
The history of the house is incredible, which means I can work with a lot of free
dom. Cristobal Balenciaga discovered so many things, was so inventive, it's astoni
shing. 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, l
asercompressed 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 didn't sketch; he constructed his garments physically on the body Didn't c
onfine himself to traditional styles and techniques; researched ways to create s
omething new Didn't try to change the body - used the shoulders and pelvis as poin
ts of support Had no need for framework and refused to use padding Rejected stif
feners; added interfacing so the dress could keep its form when the wearer moved
Focused on comfort and flexibility - a finger's breadth was left between the skin
and the fabric
Dior
Started his collections by producing a series of drawings; didn't physically work
on the dresses Remolded the body into two main silhouettes: Corolle (corolla) an
d 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 fr
eedom of their body Dior copied Balenciaga's 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; w
orked with the fabric so that he did not have to add stiffeners, padding, etc. L
iked the sphere Straight Line; Narrow I-line; Voluminous O-line Dresses had revo
lutionary shapes
Dior
Lined garments with stiffeners, padding, and interfacing to create fluid curves
and lines Started working with geometric shapes following his 1954 collection Fi
gure 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 wa
ist synching silhouette that was happening at that time Master cutter: With Balen
ciaga, 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 cr
eate geometric shapes and volume
Madeleine Vionnet
Rejected the fashion of the times; in 1907 she got rid of corsets, shortened hem
s Understood cutting, proportion, and shape: all things concerning architecture,
silhouette, etc. Created her own fabric: Rosalba Crepe (artificial silk) Used e
laborate 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 fabri
c, and mount it and sew it with his own hands. The others are just draughtsmen.
- Gabrielle Coco Chanel
Historical Evolution
Balenciaga's 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 lik
e fabric: kaunakes Lengths varied: servants and soldiers wore shorter lengths; r
oyalty 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 dres
s
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 fab
ric beginning above or below the breasts and ending around the lower calf Two sh
oulder 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 Loinclo
th: a fitted garment that covered approx. the same area as a pair of modern athl
etic shorts Women's skirts were bell shaped and had 2-3 forms:
Fitted at the waist, flared gently to the ground Series of horizontal or V-shape
d ruffles Decorative bands at the hem
Loincloth
Apron-like garments were worn by women on top of skirts Men and women wore T-sha
ped 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 ar
ound 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 leng
thened 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
Woman's 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 bodi
ce, 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 man's undershirt)
Under tunic worn over chemise Floor-length outer tunic with wide sleeves, allowi
ng 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 wi
th an upper section joined to a skirt
Sleeves tightened at the wrist, widening the shoulder Chemise tightened Tunic wa
s 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 dre
sses with shorter trains Shorter and tighter at the waist Long sleeves Padding o
f 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 Bo
dice 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 Dres
s, 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 be
came 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 s
weeping Corsets were placed over the chemise
eHow.com
Romantic Period
19th century
Transition between Empire and newer Romantic styles Change in waistline graduall
y took place Chemise was an undergarment
Wide, knee length, short sleeves
Emphasis was placed on a small waist Bustles, small down or cottonfilled pads th
at tied around the waist at the back, held out skirts Waistlines were straight S
kirt lengths shortened about 1828
Survey of Historic Costume, Hungarian Museum
Crinoline Period
19th century
Women's silhouette fits closely through the bodice to the waist, then the skirt wi
dens to a full round or dome shape Chemise was an undergarment worn under a cors
et
Short sleeved, knee-length
Camisole or corset cover was placed over the corset Whalebone or steel hoops wer
e 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-wai
st look that designers like Dior were doing Sleeves cut in one with the yoke Rou
nd 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

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