The Balenciaga - Alaïa joint exhibition is now open in Paris and we highly recommend it. Balenciaga and Alaïa in dialogue. On one side, a little black dress with a low crew neck, whose pleats start right on the hips. On the other, a long strapless dress, fitted down to the thighs and flared to the ground in a perfect flare. The first is made by Cristóbal Balenciaga and dates from 1954; the other is a haute couture piece by Azzedine Alaïa, dated 2003. What they have in common is an extraordinary mastery of form and a study of the lines of the body, which are highlighted by the finest stitching and the most subtle folds. The term "architect" has often been used to describe the work of Balenciaga and Alaïa, whose creations are demonstrations of craftsmanship and technique. It is not surprising that the latter was passionate about the work of the former and that of his elders, Madame Grès, Elsa Schiaparelli or Madeleine Vionnet, outstanding couturiers whose legacy he continued.
It was almost by chance that he started collecting their clothes. Shortly after Cristóbal Balenciaga decided to close his fashion house in 1968, Azzedine Alaïa was contacted by Miss Renée, deputy director of the Balenciaga fashion house. Concerned about what would become of the stocks of fabrics and dresses stored in the workshop that had recently closed down, she suggested to a young Alaïa that he dispose of them as he wished and take the liberty of cutting new models from the dresses. Fascinated by the technical and creative work used on the clothes, Alaïa chose to keep them intact, and to build up an archive that would mark the beginning of a great collection that he would never stop enriching throughout his life. The new exhibition at the Azzedine Alaïa Gallery brings several dozen of his models into dialogue with those of Cristóbal Balenciaga, an astonishing face-to-face encounter between two great masters of style and volume.
No comments:
Post a Comment