Last December, Vogue European Editor-at-Large Hamish Bowles spoke about Christobal Balenciaga, one of the last century’s most noted couturiers, at the 12th Annual New York Fashion Conference, organized by Initiatives in Art and Culture.  Since hearing him share his experiences about curating the exhibit, Balenciaga and Spain, I knew it would be a superb visual treat.

The exhibit, now at the De Young Museum in San Francisco, does not disappoint.

Balenciaga’s spirit was grounded in the most refined elegance.  His design details were totally intentional to romanticize or dramatize a look, sometimes both concepts at the same time.  Moreover, he had a keen ability to make well-constructed garments that had just one seam because he wanted them so simple that the focus would be placed on the wearer.  When other designers were raising hemlines, Balenciaga kept to a length that was classic for him.  He would keep skirts pared down and simplified so that all the emphasis would be up top, or even reverse the concept to highlight those amazingly voluminous flamenco skirts.  He also was a strong believer in sculpted structure, creating iconic and famously dramatic clothes.

Balenciaga learned at a young age how to create couture level clothing.  His father died when he was a boy, leaving his mother to raise him.  His mother sewed clothes and it was through their close bond that he first learned to recreate the finest designs worn by women of means living in and visiting his Basque hometown.

Balenciaga and Spain highlights how key Spanish themes are closely tied to his designs.  An introductory gallery shows off the designer’s master techniques with examples spanning three decades.  Then, once inside the main exhibit room, Balenciaga’s work is studied in six areas of interest, each representative of a different influence of Spanish culture.

What I loved about the exhibit is that it showed how these influences became elements of taste, design, and innovation.

Inspired by flamenco dancers, he created clothes featuring elements like a ruffled train, and bold polka dot patterns.  To accentuate movement, even if a lady wearing one of his gowns was standing still, he would use specially chosen fabrics and ruffles.  Even head decorations to complete a look were inspired by the flamenco influence.

Men’s flamenco dance costumes were re-imagined into women’s apparel, such as a close fitting cropped bolero and super slim pants.  Clearly not afraid to invent new ways for women to wear evening clothes, Balenciaga romantically borrowed from matador costumes worn by men in the bullfighting ring.  His very heavily embroidered and beaded boleros could be just as intricately detailed as haute couture gowns.  A close up look at the examples on display showed jaw-dropping precise detailing.

Clothes worn by the laborers in different regions of Spain also got a fresh spin at the hands of Balenciaga.  The simplicity of certain pieces, like a fisherman’s shirt turned out as an unfitted, loose-fitting cotton blouse, or the garb of a shepherd envisioned as a mohair vest, should not underestimate the sophisticated ease of his design mastery.  It was through fashion that he could bring the classes together and make clothes interesting.

His focus on the Spanish Court was another way of bringing uncommon royalty to the common woman with enough money to spend on one of his creations.  One piece on exhibit had a train of ermine tails, which was said to have been something a Spanish queen had collected.  A second gown featured studded pearls.  Reportedly, the wearer of this piece wore it every year as a signature of her Christmas style.

Another striking area of focus for Balenciaga was religion.  He was a devout Catholic, and is said to have attended mass twice daily and even contemplated the priesthood.  Yet it is his designs in this area that his technical ability and tailoring reined supreme.  I’ve never seen anything quite like his interpretation of a nun’s habit, or a monk’s hooded robe.

One final and significant element that did not escape me throughout the entire exhibit was his use of color.  As a solemn reminder of the grief experienced by the passing of his father and remembering his mother constantly wearing black, it makes sense that it was a favored color of choice for Balenciaga.  Yet seeing so much black among the examples on exhibit remind us all that there is romance, drama, and paradigm shifting creativity in his clothes that have inspired other designers like Oscar de la Renta and Hubert de Givenchy.  When he used color, it showed a complete lack of inhibition and reverence for the character of the people and the culture of Spain.

Joseph Rosenfeld helps high-profile individuals revitalize, manage, and be secure in their personal visual brand. Visit JosephRosenfeld.com for details.

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