Few understand the power of a social media spectacle better than Olivier Rousteing.
Back in September the Balmain creative director, who personally has 9.1 million Instagram followers, swapped a traditional invite-only runway show for the third instalment of his Balmain festival concept — a public event open to 10,000 screaming members of his #BalmainArmy, and featuring a cameo from Cher. On Wednesday night, the 37-year-old designer chose to strip things back, returning to a more intimate show format in a covered market in central Paris to show his AW23 collection.
“It’s not just about the fireworks that surround fashion but the craftsmanship, the work of designs and ateliers,” said Rousteing, who joined Balmain as a studio manager in 2009 and took the top job just two years later, making him the youngest creative director in Paris at just 25. Yesterday’s collection was a reflection on his journey so far.
“It’s been a lifetime and I just want to renew myself,” he said, welling up backstage. “To find my new chapter and the new chapter of the house. I’ve been a witness of my time and of my pop culture, everybody knows me for that but at the end of the day I am more than today, I am looking at the past to build the future.”
A focus then on the archives, and the techniques, silhouettes and couture-like craft the house was known for under its founder Pierre Balmain.
With Frank Sinatra’s “I did it my way” blasting on the speakers (nothing to do with his final curtain, Rousteing assured post-show), models padded the carpeted runway not in the bandage dresses and platforms Rousteing’s made a brand signature of late, but in 50s nipped waist velvet suiting, sculptural bow-front dresses, 80s shoulder pad blouses and crystal-covered kitten heels. These were not museum pieces though — several off-shoulder tops came with inbuilt lycra gloves and one asymmetrical ruched peplum waist dress came in high shine PVC.
Pierre Balmain’s favourite polka dots and pearls abounded, the latter in a dramatic sculptural peal-encrusted mini dress and corset and a fabulous jacket adorned with jingling strings of pearls that looked, from a distance, to be a shagpile fur. A monogram had been resurrected from the 80s and worked on a cropped skirt suit, silky bow-front dress and piles of luggage. Capes added drama throughout — as mohair capelets and floor-length beaded (and entirely arm restricting) cape dresses — and headwear, a favourite of Pierre Balmain, had been created in partnership with Stephen Jones Millinery and riffed on some of the label’s early couture creations.
“Whatever the house is going to be about we need to remember its incredible history,” said Rousteing. “It’s not about being hype tomorrow, it’s about not being forgotten.” For someone who insists he’s sticking around, it sure felt like fitting eulogy.
