The Weird and Wonderful World of Balenciaga

Whether you love his radical, architectural approach to couture or instead dismiss his clothes as baggy rubbish, Balenciaga’s influence on fashion cannot be denied, whether for good or evil. The Victoria and Albert Museum explores his legacy on modern fashion as well as the inspiration he continues to provide to countless contemporary designers.

The Flamenco Dress greeted me at the beginning like an old friend. Easily one of the most gorgeous pieces in the entire exhibition, Balenciaga here combined minimalism with a more conservative aesthetic, referencing simultaneously the traditional fashions of Spain as well as the hour-glass silhouette of the early 60’s. Its watermelon pink, which would have been garish on anything else, here lends further boldness to the dress’ daring profile.

Another stunning but infinitely less conventional dress would be the 1967 white silk evening gown. At first glance it appears nothing more than a bed sheet. But as you move around the abstract grace of its cut and the piercing simplicity of its design woos you. While hardly the most flattering of frocks, as a testament to the beauty of pure design it succeeds miraculously.

Another piece from the mid-60’s, this 1966 dress was designed for Ava Gardner. It resembles a mozzetta, a cape worn by the Spanish clergy. It also evokes the enormous leg o’mutton shoulders of the 1890’s. The original design was far more severe, Ava Gardner insisting on the inclusion of a floral trim. Comparing the finished dress to a photo of the earlier design I’d argue that Ava was right.

This 1968 dress works. Almost. Despite its sumptuous silk gazar fabric and playful lantern-sleeves (in hommage to their lacy, 18th century predecessors), this is a dress with too much going on, like a rogue garden. The rich purple floral pattern is too clustered, resembling an eczema outbreak.

Having purified ourselves in the lower section, our adoration of the original designer marking our ablutions, we tread apprehensively into the upper sanctuary. Like passages from the scriptures, the walls are lined with quotations in praise of Balenciaga. And scattered across the room are offerings given in devotion by younger designers. Supposedly all have been inspired by Balenciaga, though some more successfully than others.

One piece by fellow Spanish designer Sybilla is an obvious tribute to Balenciaga’s 1961 green silk gazar dress. A serendipitous combination of elegance and surreal abstraction, its balloon-like shapes swoop down confidently, like emerald clouds wafting to earth. Upstairs is Sybilla’s version, but though undeniably inspired by the earlier model it is a sad imitation. Balenciaga’s robust clouds have deflated, reduced to flopping bin liners. Even the colour has degraded, Balenciaga’s gem-like emerald reduced to a sour olive.

Sybilla's inferior imitation

Hussein Chalayan’s tulle dress is a coagulated shadow of Balenciaga’s greatest designs, the master’s stark simplicity reduced to a mere shapelessness. He himself admits that ‘in a way we’re just regurgitating what the mid-century designers have done’. The alarming red-splattered top hints at a gruesome homicide, as if the dress was actually a decapitated rubber duck.

The most impertinent of the votive offerings is a 2002 dress designed by Belgian Dries van Noten. Claiming to be inspired by 1950’s Balenciaga, it’s difficult to see how. Observing this mess is like raking through the gaudy remains of a charity-shop after a tornado.

Van Noten's impertinence 

With relief you then discover Yuki and Issey Miyake’s stunning white dress. But though beautiful, its pleating and long flowing lines owe far more to the underappreciated Mariano Fortuny than Balenciaga. On which note, why hasn’t the V&A dedicated an exhibition to him yet?

Roksanda Ilincic, the preferred choice of Mrs. Trump and other political women, makes an appearance too. Her watermelon-toned gown is the same shade as Balenciaga’s Flamenco dress. But while the lantern-sleeves are reminiscent of the master, Ilincic incorporates them better. Contrasting with a long and narrow hem, they provide a sense of flowing movement and exuberance in an otherwise restrained dress.

Looks familiar right