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Balenciaga, Analogías Y Diferencias Con Lanvin, Givenchy Y Saint Laurent

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Balenciaga, Analogías Y Diferencias Con Lanvin, Givenchy Y Saint Laurent Balenciaga Analogías y diferencias con Lanvin, Givenchy e Yves Saint Laurent. Virginia Medina León Índice de contenidos Índice de contenidos ..................................................................................... 2 1. Cristóbal Balenciaga ............................................................................... 3 1.1. Introducción a Cristóbal Balenciaga ................................................ 3 2. Cristóbal Balenciaga: Analogías y Diferencias con Jeanne Lanvin, Hubert de Givenchy e Yves Saint-Laurent. ................................................ 8 2.1. Jeanne Lanvin ................................................................................... 8 2.1.1. Analogías entre Cristóbal Balenciaga y Jeanne Lanvin ............ 9 2.1.2. Diferencias entre Cristóbal Balenciaga y Jeanne Lanvin ....... 11 2.1.3. Imágenes ................................................................................... 12 2.2. Givenchy ......................................................................................... 17 2.2.1. Analogías entre Cristóbal Balenciaga y Hubert de Givenchy 18 2.2.2. Diferencias entre Cristóbal Balenciaga y Hubert de Givenchy 20 2.2.3. Imágenes ................................................................................... 21 2.3. Yves Saint-Laurent ........................................................................ 25 2.3.1. Analogías entre Cristóbal Balenciaga e Yves Saint-Laurent . 26 2.3.2. Diferencias entre Cristóbal Balenciaga e Yves Saint-Laurent 28 2.3.3. Imágenes ................................................................................... 31 3. Bibliografía ............................................................................................ 36 2 1. Cristóbal Balenciaga 1.1. Introducción a Cristóbal Balenciaga Cristóbal Balenciaga, considerado uno de los más influyentes y destacados creadores de moda del siglo XX, elevó su oficio a un nivel de gran precisión, siendo calificado como “el arquitecto de la moda”. Son muchos quienes comparten esta opinión. De hecho, en casi todos los desfiles de moda de las ciudades más importantes del mundo se sigue hablando de Cristóbal Balenciaga y de sus diseños. Él fue el gran arquitecto de la alta costura, uno de los pocos que, además de diseñar sus trajes, los confeccionaba, los cosía. “Las mujeres no tienen que ser bellas ni perfectas para vestir mis diseños”, comentaba el diseñador. Sus vestidos las hacían bellas. El modisto español introdujo una nueva silueta para la mujer a la vez que Christian Dior cautivaba al mundo con el New Look. Mientras que Dior elaboraba un nostálgico revival de las románticas siluetas del siglo XIX, Balenciaga sorprendía con la presentación de líneas fluidas y curvadas, y volúmenes que rompían con lo establecido. Para diseñar este nuevo contorno femenino, Balenciaga elaboró un sistema propio de proporciones estéticas. La silueta que él creó para sus clientas, y que hizo escuela, utilizaba como un elemento esencial en el diseño de las prendas, la distancia entre el cuerpo femenino y el tejido que lo envuelve, creando el límite sutil en el que reside la elegancia y el confort de sus modelos. La volumetría que lo caracterizaba era conseguida por medio de tejidos rígidos o de marcada textura, 3 Siempre destacó por el perfeccionamiento en la construcción de sus creaciones, evolucionando siempre hacia una mayor simplicidad y pureza de formas. Muchos de sus diseños se han convertido en hitos de la moda, como la marinera de 1951, la túnica de 1955 y los vestidos saco de 1957, eliminó la cintura, realzó los hombros y el busto en la túnica, o la espalda en los vestidos saco, estilizó la figura e insinuó la cadera. En 1947, Balenciaga presentó sus primeros abrigos de línea tonneau, y en 1951 introdujo en sus trajes el denominado estilo semiajustado, una línea que resultaba más holgada en la espalda, al tiempo que se lograba un efecto más ceñido en la parte delantera. Hacia mediados de la década el modisto introdujo variaciones en su idea inicial y las chaquetas comenzaron a ablusarse por la espalda para ajustarse por debajo de las caderas con una banda del mismo material. En Noviembre de 1957, apareció el vestido saco, había exagerado el efecto ablusado de la espalda hasta convertirse en un nuevo tipo de vestido que renunciaba a la cintura y anticipaba el vestido shift del los sesenta. La experimentación de Balenciaga con la construcción y la silueta llegaría a su expresión máxima en la década de 1960. El vestido baby doll creado en 1957, se caracterizaba por su forma trapezoidal y exageraba las líneas fluidas del vestido saco hasta hacer desaparecer completamente cualquier referencia de la silueta de la mujer. Sin embargo, el modisto supo combinar en algunos modelos la expresión de la cintura y su negación. Realizado muchas veces en encaje se vislumbraba el cuerpo femenino cubierto por un segundo vestido ajustado que marcaba su silueta. Las mangas de Balenciaga tenían que ser perfectas y no obstaculizar los movimientos ni la comodidad de la clienta. Los cuellos se basculaban, alejándose de la nuca y permitiendo una grácil y elegante conjunción de esta con el cuerpo. Los talles se ajustaban más o menos al cuerpo, se acortaban en los talles imperio o descendían hasta apoyarse en la cadera. Vestido y cuerpo femenino se complementaban creando una obra arquitectónica. Constantemente influenciado por el racionalismo, empirismo y cientificismo, el costurero Balenciaga llevó a la alta costura líneas 4 arquitectónicas, la asimetría T e Y, y definió como nadie las estructuras de los hombros. Sus creaciones revelan que conocía e interpretaba muchas obras pictóricas, aunque sin por ello recurría a estridencias ni a recreaciones simplistas. Si bien carecía de una formación reglada sobre arte, estaba dotado de una extraordinaria sensibilidad, por lo que trasladó a sus creaciones aquellos elementos del arte y la moda que mejor servían a su primordial objetivo de construir prendas de acuerdo con su determinada visión del vestido. La pintura española es indudablemente la fuente principal de la inspiración de Balenciaga: la recurrente presencia del negro en sus colecciones apuntaba a la influencia del negro de la Corte de Felipe II, muestra de ello se aprecia en diseños de una austera elegancia combinada con una extraordinaria profusión de bordados. También se impregnó de determinadas combinaciones de colores característicos de la obra de Velázquez como varios de los elementos de la indumentaria de sus cuadros (lazos y cintas de las infantas). No se dejó escapar a la influencia de algunos elementos que adornan a las mujeres de los cuadros de Goya (leves muselinas, encajes transparentes, el balanceo de las faldas que dejan al descubierto los pies y las flores que adornan el pelo). Balenciaga presentó en sus colecciones de los años 40 varios modelos en los que se puede apreciar un reinterpretación de la mantilla española. Las creaciones de Balenciaga también se vieron influidas por otros elementos recurrentes de la obra de Zuoloaga, labradores y clérigos castellanos ataviados con amplias capas y largas sotanas en tonos tostados, castaños, grises y negros. El modisto combinó estos mismos colores en modelos de alta costura (su gama de grises, negros, marrones….) así como su reinterpretación de dicha indumentaria. Sus colecciones del los años sesenta recuerdan a los hábitos eclesiásticos más ceremoniosos así como a las largas capas castellanas. Para lograr esos voluminosos vuelos y volantes recurrió a tejidos de mucho cuerpo. Consideraba que la mujer no debía llamar la atención en la calle, debía estar perfecta, pero nadie debía volverse a su paso. Los vestidos de Balenciaga dibujaban límites físicos y sociales, enmarcaban a las mujeres que los llevan transformándolas en seres elegantes que escondían su 5 feminidad individual bajo una armadura de buen gusto y formas refinadas. Además, siempre quiso destacar el cuello, ya que tenía un concepto de feminidad cercana al erotismo japonés, al contrario que Dior. Las fuentes que fundamentalmente influyeron en su creatividad y los temas a los que reiteradamente recurrió en sus diseños son aquellos que conoció, experimentó y absorbió en sus años de formación y desarrollo profesional en San Sebastián. Según Diana Vreeland “su inspiración provenía de las plazas de toros, de los bailaores de flamenco, de las holgadas blusas que visten los pescadores, del fresco de los claustros….y adoptó estos modos y colores y, adaptándolos a su propio gusto, vistió durante treinta años a las personas que se interesaban por estas cosas”. La tendencia del japonismo inspiró al diseñador en la concepción de sus más importantes diseños de la década de los años cincuenta y sesenta, que se caracterizaban por la forma curvada de la espalda y el cuello caído bajo la nuca. Estas formas curvilíneas se asemejan a la curva que el quimono tradicional posee. El trabajo del diseñador vasco siempre se basó en la precisión absoluta del corte de la tela, por lo que se mantuvo alejado del prêt-à-porter industrial. Para Balenciaga, la alta costura le daba la posibilidad de crear por lo que no consideraba el prêt-à-porter un arte. A finales de su carrera percibió como los cambios sociológicos propiciaban una liberación del rígido código estético de la vestimenta femenina. Se sintió ajeno a este nuevo sistema, que representaba una filosofía de vida y trabajo completamente nuevos que le resultaban extraños. En 1968, ante el declive de su clientela, cerró su casa de alta costura y se retiró, incapaz de sacrificar
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