“[Demna Gvasalia] shows us both the humor and the horror of what it means to try to make sense of a work wardrobe or a travel uniform. I laughed because Gvasalia is just so good at alluding to the randomness around us,” CathyHoryn reviews Balenciaga PFW
Balenciaga. Photo: Getty Images. Illustration: Lauren Tamaki No contemporary designer gets under people’s skin like Demna Gvasalia of Balenciaga. His latest show, staged in a bright-blue modern arena that resembled a government assembly, evoked the terrors of a world controlled by soulless bureaucrats and overrun with refugees. Among the comments I heard afterward were “toxic” and “detestable — without hope.
Actually, the woman who opened the show is Neda Brady, a Dusseldorf-based architect, and the man in look No. 2, Ivo Raspudic, is a mechanical engineer and part-time model. In addition to the professional models, including the current star Bella Hadid and the legend Nadja Auermann, Gvasalia cast a law student, a private-equity manager, a gallerist, a teacher, and a hotel cleaner.
It made me think of an essay by Karl Ove Knausgård called “Vanishing Point,” in which he talks about images and “the mechanism in our societies that turns people into a mass, how ordinary that is and how closely bound up with the media, which by its very nature creates remoteness, its narrative structures rendering every event equal, every occurrence identical, thereby dissolving the particular, the singular, the unique, in that way lying to us, or, put differently, fictionalizing our...
As it happens, he and his staff researched the dress of politicians, and in the office they discuss politics and social issues. As for the set, Gvasalia said, “For us, it started with the idea of a minimalist arena of the future. You don’t even have to climb stairs. So it created a minimalist space of a hopeful, futuristic assembly.”
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