To say goodbye, Demna Gvasalia avoided looks that could be viral moments for his last Balenciaga collection. Did the swansong sing?

Like his final RTW for Balenciaga last month, Demna Gvasalia’s last couture collection dropped the spectacle he has tethered the house to for the past ten years. It was a nearly solemn affair, not helped by an initial soundtrack that was his PR man Robin Meason and the actress Isabelle Huppert reading a long list of names, probably long time supporters, but could as well be the war dead. When there was finally music, it was a total shift to Sade’s No Ordinary Love. The strong affection for the man was clear. Throughout his tenure, Mr Gvasalia has avoided taking the customary end-of-show bow. But on this day, he appeared, and the audience clapped in their appreciation of seeing him—hoodie-clad, looking every bit the paradigm of the Balenciaga he drastically remade. This was, for so many fervid fans, truly an end of an era. Yet, this was not John Galliano’s last couture show for Margiela.

Surprisingly, the final collection did not explicitly showcase that many aspects of Mr Gvasalia’s transformative tenure—a grand ten years. Perhaps by now, the divisiveness turn dystopian that became desirable was not longer so. The pieces were a nod to the foundational codes of Cristóbal Balenciaga, at least in the womenswear—impeccable lines and severe tailoring (standouts were the new sleeve shape and the curled edges of the peaked lapels). Noticeably absent were extreme proportions, meme-ready accessories, or overt provocations that defined some of his earlier, highly viral collections (couture T-shirts!). This could be interpreted as a sign of satiation and a desire to reinforce Balenciaga’s technical capacity as a haute couture house. But the latter was never in doubt. If there was anyone who came close to Cristóbal Balenciaga’ marvels of engineering, it was Demna Gvasalia.

One of Mr Gvasalia’s most significant leading-edge contribution to Balenciaga was relaunching the haute couture line in 2021, after a 53-year hiatus. His final couture collection, by its very existence and emphasis on technical brilliance, served as a culmination of this effort. He made couture relevant for a new era, bridging it with his contemporary vision, and this last show did solidify that achievement. While the pieces were shocking for their lack of shock, there were, by contrast, subtle references to his lexicon. Elements of Mr Gvasalia’s signature aesthetic were still present, just refined. Sculptural tailoring, often with boxy, linear shoulders, wasp waists, and floor-grazing outerwear, are hallmarks of his work. The collection explored silhouettes, a key aspect he consistently innovated on, whether through oversized volumes or re-engineered corsetry.

Yet, Mr Gvasalia’s Balenciaga finale will not be remembered for any particular garment or look, but for its striking restraint. Absent was the overt angst; instead, the focus was on strongly sharpened silhouettes. His archetypal fetish garments—trench coats, bomber jackets, strong-shouldered tailoring, ladylike suits, prom dresses, and old Hollywood gowns—were idealized and perfected, exuding a sellable polish. Nothing was extreme. Kim Kardashian in a tight body-con was certainly not. The show was staged at the grand salons of Balenciaga on Avenue George V, but the photos that the maison shared with the media were those from their look book, shot around Paris, underscoring Demna Gvasalia’s street-bent conceptualisation. Back at the show venue, a couture crescendo was expected, but what was delivered was a poignant quietus, an unexpected and understated conclusion that, in its very subtlety, became the testament to Balenciaga’s metamorphic decade.

Photos: Balenciaga