🔗 Share this article

Although fresh talent at Chanel and Dior have generated plenty of noise during this Paris fashion week, it was the debut from the iconic brand that truly captivated the press coverage. The event featured a stunning front-row presence: the Duchess of Sussex, Meghan, making her return to the European scene in a three-year period.

That Saturday night in the city of lights, the razzle-dazzle of Chanel, Dior – and even Lauren Sanchez – paled in comparison with the dramatic effect of the Balenciaga show.

Meghan brought significant glamour and excitement to the fashion event.

Before this development, the overall atmosphere surrounding Pierpaolo Piccioli’s debut had been relatively serene. The fashion house is a highly respected name, and the designer is widely recognized as a master of his craft. Moreover, he is admired for his status as the most congenial figure in the industry. It was widely believed that dramatic fashion statements had left the brand's identity with the departure of provocateur designer Demna to a competing brand. However, sometimes the most gentle individuals pull off unexpected moves, and the appearance of royalty dramatically heightened the level of hoopla.

He considers himself an design visionary, building silhouettes that do not contact the body.

Interestingly, the main idea of the collection's guiding philosophy, as he detailed it behind the scenes, was women's liberation. His primary reference was the revolutionary 1957 design by Balenciaga, a shape that stands away from the body, neither amplifying nor restricting a female form. He stated that this look was a bold statement of a shifting zeitgeist that was beginning to move from the conservative norms of the 1950s towards the more free-spirited era. The idea centered on progress for women. It liberated women from the burden of garments that rest heavily on the physique and define them by their shape. That garment gave women the chance to be free in space.”

Some of the house's famous designs were included in the runway, such as this structured outerwear.

Clothes that hold their form are fundamental to the identity of Balenciaga. Piccioli likened this design methodology to being an architect: creating structures that never make contact with the body, while continuously keeping in mind the individuals who will inhabit and move within them. The original designer was obsessed with the human form and with materials, and with a additional component – the space in between.”

Leading the presentation was a modern reinterpretation of the sack dress, elongated to an floor-grazing length, worn with elegant gloves – but also with wraparound bug-eye sunglasses that functioned as a direct nod to the futuristic edge of Balenciaga’s Demna era.

The designer, who at his current age sports ornamental accessories and exudes an peaceful, free-spirited demeanor, does not view seeing the industry as a competitive fight. He believes that it is “cooler” for creatives to acknowledge each other’s abilities. The creative director mentioned that he was hoping for a “reconciliation” between the haute couture heritage of the fashion label, and its more modern casual influences. The brand's legendary shapes were showcased in the collection: a voluminous outerwear piece, this time in a vibrant poison green, and a trapeze dress in a dramatic violent purple.

The concept of Parisian style has become a modern money-spinner. Michael Rider is an designer from the US, but he masters this style code. He collaborated closely with a fashion icon during her time leading the brand, and then devoted a half-decade elevating Polo Ralph Lauren into a symbol of approachable fashion. Currently leading Céline, he is bringing the democratic approach of his previous work to the local aesthetic. He presented timeless coats, woven bags, and silk scarves draped on handbags – the signature details of French-girl chic – presented in cheerful tones, with an optimistic US influence. The brand is welcoming, or a brand that wants to exclude people,” Rider stated post-presentation. My desire is that everyone feels desirable in these clothes. By choosing these pieces, you may not have the most outrageous item, but you have the perfect garment, and you have the self-assurance to wear it.”