Cristóbalbalenciaga,Circa 1952

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52 ORNAOROORNAMENTMENTE 34.4.201134.4.4 44.20110 courtesy ofthedeYoungMuseum. Lessing/Art Resource,NY.AllPhotographs of Spain.Louvre,Paris. Maria-Margarita, daughterofFelipeIV,King DIEGO VELAZQUEZ,PortraitoftheInfanta Refined Art Art Fashion as as B C C focused disciplineandanobsessiveexactitude, Balenciaga’s devoutreligiousbeliefsalso ALENCIAGA reflected uponhowheworked—witha especially inregardtohislegendarily RISTÓBAL Photograph byErich uncompromising fittings. Tamara W.Hill

6/2/11 2:58 PM 34_4_Balenciaga5.indd 53 it withhisownhands.Theothersarejustdraughtsmen” only onewhoknowshowtocutafabric,andmountitsew T deep religious devotion. In 1906, he was strongly affected by the deep religiousdevotion.In1906, hewasstronglyaffectedbythe society, aprovincialmilieuof social constraint,formalityand He wasraisedwithinaverystructured latenineteenth-century medieval fishingvillagealongthe roughBasqueAtlanticcoast. inspirations forhisreinterpretationsofnativesources. textiles, liturgicalvestmentsandshawls—thatallservedas costumes—and aredisplayednearexamplesofthetypes bullfights, flamencodancers,regalportraits,orregional and shortbolerojacketsarejuxtaposedagainstmuralsofthe cocktail dresses,sculptedcoatsandlushcapes,structuredsuits life suchinfluences.Thesumptuousgownsandsleeksatin dramatic groupingsofmannequinsthatgraphicallybringto and aesthetic.Thesequenceofthisevolutionistracedwith Spanish cultureandartshadonthefashionicon’sspirituallife emphasizes thepowerfullyenduringandhauntingimpactthat striking installation,whichcanbeseenthroughJuly4,2011, Cristóbal Balenciaga’s(1895-1972)signaturefashions.The stunning retrospectiveconsistingofonehundredtwenty solemnity andfortheirairofhauteurexclusivity. his salonswererenownedfortheirchurch-likeatmosphereof directions hegivesus.” conductor …therestofusarejustmusicians,following Couture islikeanorchestra,forwhichonlyBalenciagathe rival—echoed thisviewwhenhecommentedthat“Haute man, servedashissketchartist,thenbecameadmiring emulated themaster.EvenChristianDior—whoasayoung protégés stated thatallotherdesignersoftheera,includinghisnumerous heritage andhomeland,expressiveofararecreativetalent. surprisingly playfulflourishes,allevocativeofhisIberian tones offsetbyvibrantcolorchoicesandtheatrical,often vocabulary ofcalibratedshapesinsomberblacksandearth and brioofamasterfulprecisiontailor.Hecreateddistinctive he synthesizedandtransformedwiththeconsummateskill nostalgic Spanishthemesandprovocativeinnovations,which style areafascinatingstudyincontrasts,aninterplayof fashion tothelevelofarefinedart.Hislifeanddictums haute couture.Heisoftencreditedwithhavingelevated designs exemplifiedwithintherealmoftwentieth-century Balenciaga wasbornofhumbleoriginsinGuétaria,a San Francisco’sdeYoungMuseumhasmounteda Coco Chanel,whowasinitiallyhismentorofmodernity, 1 were indebted to him as “the only couturier. He is the wereindebtedtohimas“theonlycouturier.Heisthe exquisite beautyandrigorousperfectionismthathis timeless, classicelegance,synonymouswiththe he nameBalenciagahasbecomeadefinitionof 3 Revered by his worldwide customers, Reveredbyhisworldwidecustomers, 2 who who gazar, winter1967.PhotographcourtesyofBalenciagaArchives,Paris. EVENING ENSEMBLE,dressofblacksilkcrêpeandchouwrap 6/2/11 2:58 PM

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544 ORNAORNAMENTME 34.4.2011 Hamish Bowles.PhotographbyKennyKomer. passementerie embroiderybyBataille,winter1946.Collectionof EVENING BOLEROJACKETofburgundysilkvelvetandjet Hamish Bowles.PhotographbyKennyKomer. BLACK SATINCOCKTAILHATwithballfringe,1957.Collectionof which heaccomplishedsowell,thatsheworehisversion. confidently askedifhemightcopyoneofherParisiansuits— noblewoman, MarquesadeCasaTorres.Atageeleven,he cat! Hismother’sstitcheryservicesgrantedhimaccesstoalocal when hewasjustsixcreatedhisfirstcoat—forthefamily Young Cristóbaldisplayedanaffinityforhismother’sskills; connotations permeatedeverythingthathefashioned. It wasalsothecolorofroyalty,dignityandprivilege,whose 1937, whichfeaturedradicalshapesaccentedbyvelvetyblacks. his career,andtogreatacclaiminfirstPariscollectionsof of hischildhoodmemories;heuseditextensivelythroughout women indarkmourninggarb.Blackbecametheprimalcolor death ofhissailorfather,leavinghimsurroundedbyafamily designing wastrulyakintoa“religiousvocation.” his workamétier,ratherthanartorfashion—forhim, always consideredhimselfacraftsmanandcontinuedtocall for thedenizensofcasinosandbeachentertainments.He age ofnineteeninSanSebastian,wherehecreatedstylishattire thoroughly, thenopeninghisowndressmakingshopbythe left school—apprenticingtoatailor,learningthiscraft toward hisfashioncareerbeginningatagethirteenwhenhe essential togettingahead.Heembarkedonarapidtrajectory family whowerehisprimarypatronsuntiltheirexileinl931. eventually developedaclientelethatincludedtheSpanishroyal designers, andaconduittoothersofherpatricianclass.He became agatewayforhimtotheworldoffashionableEuropean for GeneralFranco’sgranddaughter. shape, lavishlyedgedwithpearl-encrusted verticalseams,made career,” his last,post-retirement1972 design, as“astatelycodatohis wedding gownsthathecreatedinhisearlierperiods—and embroidery andrhinestoneinsets,acontrasttothechaste evening dressofivorysilk—withitsstartlingcrownthorns accent. Thisisseenineveryphaseofhiscareer,asanornate lines inastiff,darkfabricplayedagainstpliablepaleandsoft restraint withfanciful,shylyseductivedetailing,andstructural lace jabot.Italreadyprefiguredhissignaturestyle,combining a cousinistravelsuitofpatternedblacksilkwithfrillywhite earliest survivingoutfitthathedesigned,atageseventeen,for austere religiousstricturesandmonkishclericalgarments.The both bythesplendorofitsecclesiasticalvestmentsand of theCatholicChurchthatdominatedhisboyhoodtown— sensibilities andcultureofhisnativeland. French coutureworld,healwaysremainedsustainedbythe duration ofhislife;yetdespiteoccupyingthecenter due totheSpanishRevolution.HeendedupinParisfor Madrid andBarcelona,butwasfinallyforcedtofleein1937 of twenty-five,hehadalsoestablishedcouturehousesin His motherhadtosupportthefamilyasaseamstress. Balenciaga livedinanagewherelearningatradewas He wasprofoundlyimpressedbytwodivergentaspects 6 afittedwhitesatindresswith asimplecolumnar 5 Bytheage 4 She She 6/2/11 2:58 PM 34_4_Balenciaga5.indd 55 customers reportedthattheywereextremelyeasytowearand their ownclevercustomizedstructuralunderpinnings,yet or lengthenashortneck. the torso,orcollarsthatstoodawayfromnapetodisguise seams thatarcedupwardsorswoopedbackwardstoelongate range ofbodytypesandphysicalshortcomings,suchaswaist developing tricksofproportionthatwouldaddressawide to engageintheready-to-wearyouthmarket—instead, did notcaretocateronlythelithe,trendierset—norlater, would flattertheirmatureandoftencurvaceousfigures.He which providedhimwithanintuitivecomprehensionofwhat although hebefriendedsomeofthemorefamousandwealthy, about interactingdirectlywithanybuthismostrefinedclients, mystique. Acomplexpersonality,Balenciagawasalsoreticent about him,whichsurelyenhancedhisreputationand publicity; hissalonassociatesalsocultivatedaprotectiveaura fittings. Hewasnotoriouslypress-shyandreluctanttoseek exactitude, especiallyinregardtohislegendarilyuncompromising how he Courtesy BalenciagaArchive. with pinkpampilles,winter1962. EVENING CAPEofblacksatin His clotheswereimpeccablyconstructed,incorporating Balenciaga’s devoutreligiousbeliefsalsoreflectedupon worked—with afocuseddisciplineandanobsessive

Balenciaga Archive. summer 1960.Courtesy embroidery byLesage, with polychromesilkfloral EVENING DRESSofivorysilk but notoutrageous” clothes. Heconcurredwithhernotionoflooking“exceptional He admiredthemodernityandeaseofmovementinChanel’s modifying themforhismoreconservativeSpanishclients’tastes. purchasing andadaptingtheirforward-lookingdesigns,but to FrenchdesignerslikeCocoChanelandMadeleineVionnet, up inhiswhimsicalhats. appliqués thatdelightedthecritics.Thesedetailsalsoturned passementerie, braiding,fauxgemstones,andoutsizedfloral scalloped andoverlaidlace;orasthe appeared astieredflounces,giantbows,pleated with touchesofadrywit.Thesevivaciousaccentsalsooften Balenciaga presentedweredaringlyassuredinshapeandcolor, Despite hisdourandretiringdemeanor,theclothesthat de Givenchy,hewastruly“thearchitectofHauteCouture.” supple tomovein.Accordinghisultimateprotégé,Hubert Majas andDueñasintheirfluffy laceorbrocadegowns, by FranciscodeGoyaoftheSpanish royalsanddignified foremost artists.Helookedto the opulenceinformalportraits and figuresdepictedinthepaintings ofsomeSpain’s fullness atthehips,derivedfromluxuriousstyles,fabrics influences, developingbody-huggingshapeswithgentle refining hiscraft.Duringthisperiodhecombinedmultiple already spenttwentyyearsinSpainestablishinghisnameand By thetimehehadrelocatedtoParisinlate1930s of SanFrancisco,bequestJeanneMagnin. with embroideryandeyeletcutwork,summer1963.FineArtsMuseums DETAIL OFEVENINGENSEMBLEwithdressandboleroofoystersilktaffeta McDonald/Fine ArtsMuseumsofSanFrancisco. During hisearlyyears,Balenciagahadfirstpaidhomage nc an st u a es res depi h artists.He isco deGoya t thehi en d Dueñasin is craft. , deve t tw en ps lo ct s ty t Du , pip ed l y l de 7 u ooo norvulgar,akeynoteofhisapproach. ng i ri i o g rived i o n th kek ngn b th f b h d tot odo th t ei t e i hih e Sp r frf y-y pa s flf om hu heh pep m uuf in e an n o n ggg t ri fy ti t is heh pu odo ng in l h l l ac le h g s e ro ux c ncn o of e shs x e ya uur f or co e inf poufs, pom-poms, s a apes withgentle

s ls Photograph byJoe ious s oom s b mb a b a ro ndn or e in d cade gowns, of ma ty dignifi ed y a Spain le tulle, or l s, po , fabrics rt ed rar ’s

it s 6/2/11 2:58 PM

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56 ORNAMENT 34.34.4.20114.2011 skirt (1957),andin1952,pioneered thepillboxhat,awrynod baby-doll dresses,thedroppedhip-level waistline,theballoon Bata deCola.Bythelate1950shepresented thefirsttunicand the Flamencodancers’flamboyant costume,knownasthe tiered ruffledcascades,exuberanthuesandlargepolkadotsof geometry, andalsoincorporatedthesinuoushourglassshapes, sport. Hethenexploredmorefluidlinesaswellaboxyangled atmosphere—the brilliantcolors,flashandbraveryofthe bullfighting itselfrepelledhim,hewasdrawntoitsromantic embellished bolerojacketsofthematador.Eventhough (suit oflights)andshorttasseled,pom-pom,beadbraid- cassocks ofmonks;alsoembracingtheglittering bishop’s chasubles,onthehumblerobes,hoods,capes,and ripe sourcesforthesheenandpainterlytreatmentofhisfabrics. religious imageryofElGrecoandFranciscodeZurbaránwere by DiegoVelazquez’s(1653)InfantaMargarita.Thebrooding graphic blackvelvetarabesquetrimismoredirectlyinspired mantilla. His1939Infantaeveningdress,inivorysatinwith interpretation ofGoya’sDuchessAlbawearingablacklace (cabbage)-wrap overasilkcrêpeeveningdressisanoblique hues. Thedramaticallybunchedblacksilkgazarchou dove grays,oysterwhites,shinyinkblacks,andintensescarlet accentuated bydecorativeredbows;alsoappropriatingtheir summer 1968.CourtesyBalenciagaArchive. WEDDING DRESSANDVEILofwhitesilk-satinorganzaandsilkgazar, In the early 1950s he based many of his forms on hieratic In theearly1950shebasedmanyofhisformsonhieratic traje deluces

muted olivetoemeraldgreens;peachandapricotoranges; amber tobrightlemonandblazinggold;verdanttonesfrom and navyblue;arangeofbeigesyellowsfromstraw royal purples,fromprunetoviolet;antiqueaquasapphire scale frompaleshellandraspberrytohotfuchsia;sumptuous crimson toaredolentburgundy-wine;pinksthatspannedthe or white,hefavoredastrongpalette:fierybloodreds,from textures thathadbecomehistrademark. shapes, unexpectedcolorcombinationsandthecontrastsof (1968) collectionshefeaturedincreasinglyabstractinventive patterns andinsertedintoembroidereddetails.Inhisfinal national flowerofSpain—whichhewoveintointricatefabric ladies. Arecurrentmotifinhisworkwasthecarnation—the both afrequentFlamencoaccessoryandpopularwithstylish Manila, theimportedsilkfringedChineseshawlsthatwere extravagant splashesofmulticoloredbloomsonMantonsde floral printsandembroideredcocktaildressesreiteratingthe and eveninggownsinlushfabricsvibrantcolors,aswell with shortjacketsandahigherwaist,sportsoutfitsboots, beret. Throughoutthe1950stoearly1960shemodeledsuits to thecleric’sskullcaporbiretta,aSpanishversionof Balenciaga Archive. EVENING GOWNofturquoisesilk gauze,summer1958. Complementing hisubiquitousandpersistentuseofblack Courtesy 6/2/11 2:58 PM 34_4_Balenciaga5.indd 57 or apiquanttouchoffancysubtly burstingforth. meticulous tailoring,yetalways withaningenious,salientdetail both classicalstyleandindigenous traditions,allbasedon a spare,sophisticatedeleganceand chicgoodtastegroundedin couturier whohadmadehismarkonthefashionworldwith appropriately succinctandfittingeulogyforthecelebrated is Dead”—grantinghimthestatureofalegend,yetofferingan this couldoccur.Women’sWearDailyaptlyexclaimed“TheKing in Spainafterhisretirement,butdiedMarch1972before student riotsdisruptedParis.Hehadintendedtosettlequietly in waist,fullangledskirtandbustledtrain. custom-embroidered florallaceoverlay,fittedbodice,nipped- wedding gowninacreamywhitesatingazarwithitsdelicate, as clearlyreferencedbyCatherineMiddleton’srecentroyal definitive stylisticinfluencearestillverymuchinevidence, his sculptedshapesandcrispsilhouettes.Thesefabrics silk—stiffly wovengauzeandaduchesssatin—tosupport Scotland andSwitzerlanddevelopingnewfabricssuchasgazar hues resonatesthroughouthisoeuvre. known asBalenciagabrown.Theimpactofthesesplendid and distinctiveshadesofsaddletanorcinnamonthatbecame He ceaseddoingbusinessabruptlyin1968,whenthe In 1958Balenciagahadworkedcloselywithfirmsin McDonald/Fine ArtsMuseumsofSanFrancisco. Arts MuseumsofSanFrancisco,giftMrs.C.H.Russell.PhotographbyJoe COCKTAIL DRESSofrose 9

peau desoieandblacklace,winter1948. 3. Winn,Steven,“ALifeTailor-Made”inBalenciagaandSpain,The 2. Bowles:Chanel,p.19. 1. IncludedareEmmanuelUngaro,AndréCourrèges,ChristianDior,Hubert FOOTNOTES noted, arefromBalenciagaandSpain,ExhibitionCataloguebyHamishBowles. Steve Winn,fortheirinformativeguidanceandsources.Allquotesunlessotherwise Inspired aMaster,”TheSanFranciscoExaminer’ssupplementtotheexhibitionby of SanFranciscocatalogueandto“BalenciagaSpain:MemoriesHomeThat The authorisindebtedtotheexcellentBalenciagaandSpain,FineArtsMuseums ACKNOWLEDGMENTS Bowles, Hamish. SUGGESTED READING 9. Didanyofthecommentatorsevennoticeorattributetheseprototypicalelements 8. Bowles,p.35. 7. Bowles,p.23. 6. Bowles,p.32. 5. Bowles,quotedfromEveAuchincloss,p.107. 4. Ibid.,p.11. Thurman, Judith.“TheAbsolutist:CristóbalBalenciaga’sCult ofPerfection,”The “They RememberBalenciaga,”Women’sWearDaily, March27,1972. “The KingisDead,”Women’sWearDaily,March27,1972. Miller, LesleyEllis. Golbin, Pamela. –––. “TheBalenciagaMystique,”Vogue,March,2006. Wilcox, Clare,ed. Walker, Myra. de Givenchy. that nobodyconsidereditworthmentioning! they havesimplybecomesoentirelyabsorbedintotheidiomsofstylebynow, to BalenciagainthisSarahBurton-for-AlexanderMcQueencreation?Perhaps Examiner specialsupplementfortheexhibition,2011,p.11. York: SkiraandRizzoliPublications,2011. New Yorker,July3,2006. Victoria andAlbertPublications,2007. Balenciaga andHisLegacy.NewHaven,CT:YaleUniversityPress,2006. Balenciaga, Paris.London:Thames&Hudson,2006. Balenciaga andSpain.FineArtsMuseumsofSanFrancisco,New The GoldenAgeofCouture,Paris&London, 1947-1957.London: Balenciaga. London:VictoriaandAlbertPublications,2007. Fine San Francisco 6/2/11 2:58 PM

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