Who Are You, Polly Balenciaga?
By Godfrey Deeny
February 28, 2006 @ 12:51 AM - Paris
Each time we have left a Balenciaga show in recent seasons, it’s with a clear idea what women all over the world will be wearing in six months, so great has been the influence of the label’s designer Nicolas Ghesquiere.
Not this Tuesday morning in Paris.
A curious cut and paste evocation of that greatest of all, though obscure to the general public, fashion film, “Who Are You, Polly Magoo?” by William Klein, the collection was certainly beautiful, but too far fetched in its proportions and absurd in its styling to set the aesthetic roadmap for the industry.
Klein’s over-the-top yarn was echoed in the oversized jockey bowlers, which every model wore, and the gargantuan proportions of many of the clothes. An opening group of huge plaid jackets cut with chunky arms and finished with tiny lapels and big buttons was visually arresting, but highly problematic for most women to wear. In these clothes, thin gals would appear emaciated, larger lasses unfortunately bulbous.
Adding to the unlikelihood, Ghesquiere insisted on pairing them with mini skirts with massive pleats, i.e. about four pleats per skirt. Once again, it made for a dramatic silhouette, but one few women would actually carry off. Admittedly, these clothes were not in sheet metal like the brilliant, hallucinatory opening sequence of Klein’s 1966 film, but like the movie, they smacked of self-indulgent effulgence.
That’s not to say that a retailer or a movie star would not find things to order or borrow from this show. Though quite why the esteemed fashion director of Saks, surely a major player by any standards, was sat in the second row behind a pillar defeated us. We thought that the Gucci Group was keen to boost sales on the still-small Balenciaga balance sheet? But we have to say that we have seen many chic editors sport Balenciaga’s currently in-store duffle coat with the little silver button studs, a sure sign that his clothes are being bought by the right sort of gals.
A beautifully cut contrasting check dress on Belgium nymph Anouk Lepere was excellent, as was a superb midnight blue cocktail on Canadian catwalker Jessica Stam. Plus, an inventive series of white jacquard looks (the finest on Diana Dondoe) deserved great acclaim. The action finished with a trio of impeccable white dresses, the last of which came with an Islamic wink, as the model’s face was largely covered with a veil.
However, while the show reminded us of Ghesquiere’s fertile imagination, it also underlined that a chunk of his reputation rests on his reach. His ideas turned up in literally dozens of shows, especially in New York this month. Next season, we suspect a little bit less.
Nicolas tends to alternate his collections between full on laboratory or savvy commercial takes. Last season’s retail friendly haute hip bourgeois was mega retail friendly, while this season was the nod to the scientist in this designer.