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Cristobal Balenciaga was a pioneering Spanish fashion designer known for innovative silhouettes and meticulous craftsmanship. He eliminated the waist and introduced new shapes like the sack dress and chemise that liberated women's figures. Through draping techniques and minimal seaming, he sculpted fabrics into geometric volumes. Balenciaga's mastery of cutting and construction influenced many later designers. In contrast to Christian Dior's molded shapes, Balenciaga focused on comfort through flexible, body-conforming designs.
Cristobal Balenciaga was a pioneering Spanish fashion designer known for innovative silhouettes and meticulous craftsmanship. He eliminated the waist and introduced new shapes like the sack dress and chemise that liberated women's figures. Through draping techniques and minimal seaming, he sculpted fabrics into geometric volumes. Balenciaga's mastery of cutting and construction influenced many later designers. In contrast to Christian Dior's molded shapes, Balenciaga focused on comfort through flexible, body-conforming designs.
Cristobal Balenciaga was a pioneering Spanish fashion designer known for innovative silhouettes and meticulous craftsmanship. He eliminated the waist and introduced new shapes like the sack dress and chemise that liberated women's figures. Through draping techniques and minimal seaming, he sculpted fabrics into geometric volumes. Balenciaga's mastery of cutting and construction influenced many later designers. In contrast to Christian Dior's molded shapes, Balenciaga focused on comfort through flexible, body-conforming designs.
Rachel Bergan Spring 2012 Balenciaga's innovative silhouettes, use of fabrics, and strong attention to detai l made him a leading designer in the 20th century. Timeline 1895 born in Guetaria, Spain Until 1918 educated in fashion by mother 1930s Span ish Civil War forced him to close the 3 shops he had 1937 moved to Paris to open couture shop Fall 1938 1st collection 1968 retired 1972 died 1997 Nicolas Ghesq uiere took over Cristobal Balenciaga The Thames & Hudson Dictionary of Fashion and Fashion Designers, SMU.edu Signature Silhouettes 1953 Balloon Jacket 1957 Sack Dress / Chemise Dress 1957 Baby doll 1957 Cocoon Coat The Metropolitan Museum of Art Signature Silhouettes 1957 Balloon Skirt 1958 Chemise Dress with belted waist 1960 Egg shaped coat 1963 Cape Jacket The Metropolitan Museum of Art Why was he inuential? Balenciaga achieved what is considered to be his most important contribution to t he world of fashion: a new silhouette for women - Metropolitan Museum of Art Masterful in everything from cutting to sewing his own garments Steered away fro m the trends that were happening in the 19th century Modern shapes and silhouett es became his trademark, gaining him the reputation of an exceptional designer w ith daring tastes Inspired other great couturiers such as Ungaro and Courreges New York Daily News, Fashion TV, Metropolitan Museum of Art Construction Paid great attention to sleeves Placed emphasis on comfort Refused to use machin es Interested in the response of the garment when the woman walked Preferred emb roidering over patterns A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance. -Cristobal Balenciaga Paris Voice Cutting Techniques Took advantage of the poor fabric supply during WWII and elaborated his cutting techniques Techniques allowed him to obtain volumes without accumulating layers of material Cut collars to stand away from the collarbone to give a swanlike appe arance Cut sleeves in one with the garment 1955 coat - each sleeve is a continuat ion of the fabric of the front. Result: smallest possible number of cuts One Sea m Coat 1950s-1960s taffeta coat with curving wide neckline Muslin pattern for One Seam Coat 1955 coat The Metropolitan Museum of Art, Paris Voice, Fashion Encyclopedia, Zimbio, Kyoto Costume Institute Draping Techniques Draped cocoon coat was one of his most famous draped garments His draping allowe d his garments to be elegant on clients without the perfect body - many of his cli ents were older women Known in the draping world for his development of silk gaz ar Used draping techniques inspired by Renaissance painter Francisco de Zurbaran Francisco di Zurbaran (15981664) Saint Apollonia Balenciaga draped dress inspired by di Zurbaran La Descreta Enamorada, Arizona Costume Institute Sewing Techniques Began as a seamstress for the Spanish aristocracy at age 12 - learned sewing and tailoring techniques Minimalist no seam jacket, constructed with only one seam Us ed minimal seams in his designs, and made up for them by using darts and draping techniques 1967 Single seam wedding gown Pins and Needles, The Fashion Spot Signature Techniques Manipulation of the Waist Broadened the shoulders and removed the waist, totally transforming the silhouet te diverged from Dior's hourglass Especially shown in his 1955 tunic dress and the n again in his 1958 chemise dress His manipulation of the waist contributed to wh at is considered to be his most important contribution to the world of fashion: a new silhouette for women. Chemise Dress Various Sack Dresses BalenciagaFan.com, Shop Vintage Clothing, Museum at FIT Signature Techniques Focus on the Wrist In the 1950s, the wealthy were not necessarily young Older ladies could have thi ck waists or necks, but the wrists would still be small The 7/8 length (bracelet ) sleeve made the wrist look delicate and drew the attention there 7/8 Bracelet Sleeve De Young Museum, ART Hound Fabric Silk Stiff Satin Lace Tweed Wools (faille, mohair) Gazar Fashion Encyclopedia, The Golden Age of Couture: Paris & London 1947-57, Icons o f Fashion: The 20th Century Fabric Innovative, synthetic fabrics (1st water-resistant fabric) Layered fabrics for a unique look Developed his own fabric: silk gazar (stiffer version of silk) Bold materials, heavy cloths, ornate embroideries Used fabrics that could form and s upport his structured clothing Combined natural fabrics with man-made materials to create contrast Silk Gazar Evening Dress Four point silk gazar dress Fashion Encyclopedia, The Golden Age of Couture: Paris & London 1947-57, Icons o f Fashion: The 20th Century, Metropolitan Museum of Art Color SMU.edu, Adobe Kuler Embroidery Preferred to use embroidering over patterns and prints Metropolitan Museum of Art, The Frock 1961 pink taffeta embroidered tunic Ivory silk shantung gown with jewels and beads Red velvet dress with beaded sleeves Balenciaga was the true son of a strong country filled with style, vibrant color, and a fine history who remained forever a Spaniard. His inspiration came from the bullrings, the flamenco dancers, the fishermen in their boots and loose blouses , the glories of the church and the cool of the cloisters and monasteries. He to ok their colors, their cuts, then festooned them to his own taste. - Fashion edit or Diana Vreeland Inspiration - Spanish Art Goya color palette 1939 Infanta dress is a modern interpretation of the dresses worn by the Infanta Margarita in Velazquez's portraits 1939 Infanta Dress Vintage Fashion Guild, NaturalPigments.com, John Painter's Blog Inspiration - Dance Images from exhibit at The Spanish Institute Polka dots: bold, traditional print used in flamenco costumes Tiers of fabric, r uffles, flounces Fabrics that accentuate movement 1951 Flamenco Inspired Dress Vintage Fashion Guild, The Spanish Institute, Cutterandtailor.com Inspiration - Bullghting Traditional bolero of the matador Decorated with embroidery Pom-pom tassels Colo r palette of matadors capes: bright fuchsia, deep red, vibrant yellow Carnation in embroideries and prints Jacket with pom-pom tassels Dress with carnations Vintage Fashion Guild, Spanish Institute Inspiration - Regional Dress Diverse regional costumes of Spain Translates traditional Spanish garments such as a Manton de Manila into haute couture embroideries by Lesage Cloaks and capes with voluminous lines Chevrier Des Environs De Valladolid by R. De Leon Winter 1967 white mink jacket and skirt; inspired by Spanish wool 1963 Cape Jacket Cutterandtailor.com, Examiner.com, Vogue, Metropolitan Museum of Art Inspiration - Religious Life Saint Francis Standing in Ecstasy by Francisco de Zurbaran 1950 coat of wool duv entine. Draping influenced by monk's coat Cardinal Luis Maria De Borbon Y Vallabriga by Francisco De Goya Balenciaga was a devout Catholic who was deeply moved by the everyday dress of t he Spanish church Winter 1954 evening coat of scarlet silk ottoman. Structure influenced by Cardin al's uniform John Painter's Blog, The Art of Avant Garde: Balenciaga Couture, Cutterandtailor.c om Past & Present The history of the house is incredible, which means I can work with a lot of free dom. Cristobal Balenciaga discovered so many things, was so inventive, it's astoni shing. I can work on something and then look back through the archives and nd it already. - Nicolas Ghesquiere (1997-present) Fashion Now 2 Past & Present Recent Collections Bubble Cocktail Dress - Silk Taffeta Fall 2004 RTW Metropolitan Museum of Art, Style.com Past & Present Recent Collections Original Balloon Skirt Spring 2006 RTW Metropolitan Museum of Art, Style.com Past & Present Recent Collections 1967 Wedding Gown 2008 interpretation Pins and Needles Past & Present Recent Collections Molded leather, woven jersey, and nylon foam Vegetable dyed leather Hand-loomed fabric, or a meltdown of blue, white, and green strips of leather, l asercompressed Original Fabrics - Silk Gazar Spring 2010 RTW Metropolitan Museum of Art, Style.com Past & Present Recent Collections Original 1966 Trapeze Coat Pre-Fall 2011 Augusta Auctions, Style.com Past & Present Recent Collections Original 1965 Wrap Fall 2011 RTW Augusta Auctions, Style.com Balenciaga & Dior Contrasting Elements Balenciaga Typically didn't sketch; he constructed his garments physically on the body Didn't c onfine himself to traditional styles and techniques; researched ways to create s omething new Didn't try to change the body - used the shoulders and pelvis as poin ts of support Had no need for framework and refused to use padding Rejected stif feners; added interfacing so the dress could keep its form when the wearer moved Focused on comfort and flexibility - a finger's breadth was left between the skin and the fabric Dior Started his collections by producing a series of drawings; didn't physically work on the dresses Remolded the body into two main silhouettes: Corolle (corolla) an d Fuseau (spindle) Achieved designs by inserting stiffeners into tulle to create the foundation for his look Relied on the bust and waist Women no longer had fr eedom of their body Dior copied Balenciaga's comfortable look with his 1957 French Bean Line (flat, vertical look) Victoria & Albert Museum, The Golden Age of Couture Balenciaga & Dior Balenciaga Sack Dress Dior Corolle New Look Dior 1954 French Bean Line Invisiblebooks.com, Metropolitan Museum of Art Balenciaga & Dior Similarity - Geometric Shapes Balenciaga Sculpted fabrics into geometric shapes Draped fabrics to create unique shapes; w orked with the fabric so that he did not have to add stiffeners, padding, etc. L iked the sphere Straight Line; Narrow I-line; Voluminous O-line Dresses had revo lutionary shapes Dior Lined garments with stiffeners, padding, and interfacing to create fluid curves and lines Started working with geometric shapes following his 1954 collection Fi gure 8 Line; Vertical line; Oblique line; Oval line 1957 Promesse dress The Golden Age of Couture, Metropolitan Museum of Art Balenciaga & Dior Geometric Shapes Balenciaga 1967 geometric dress Balenciaga 1967 four point gazar dress Dior 1950 Oblique Line Dior 1957 Promesse Dress Metropolitan Museum of Art Balenciaga & Vionnet Similarities Balenciaga Rejected the fashion of the times; gave women a new silhouette other than the wa ist synching silhouette that was happening at that time Master cutter: With Balen ciaga, it all started with the sleeve. A square sleeve cut in one piece with the yoke, half with the front, half with the back. Used techniques that allowed for as few cuts as possible Created his own fabric: Silk Gazar Draped garments to cr eate geometric shapes and volume Madeleine Vionnet Rejected the fashion of the times; in 1907 she got rid of corsets, shortened hem s Understood cutting, proportion, and shape: all things concerning architecture, silhouette, etc. Created her own fabric: Rosalba Crepe (artificial silk) Used e laborate draping techniques Known for draping on the bias
Vionnet.com, telegraph.co.uk Balenciaga & Vionnet Draping Balenciaga 1950 coat Balenciaga evening dress F/W 1950 Madeleine Vionnet S/S 1937 Madeleine Vionnet 1935 dress Stylesight, FashionTribes.com, Metropolitan Museum of Art, Vogue Balenciaga is the only couturier. He is the only one who knows how to cut a fabri c, and mount it and sew it with his own hands. The others are just draughtsmen. - Gabrielle Coco Chanel Historical Evolution Balenciaga's Sack Dress Mesopotamia 3500 - 2500 B.C. Mosaic showing Ancient Mesopotamian tunics Skirts were the major item worn by both men and women Wool, fleece or fleece lik e fabric: kaunakes Lengths varied: servants and soldiers wore shorter lengths; r oyalty and deities wore longer lengths Tunic: T-shaped garment with openings at the top for the head and arms Tunic-type garments were an essential part of dres s Wool Kaunakes Mesopotamian Tunic Survey of Historic Costume Ancient Egypt 3000 - 300 B.C. Most frequently used costume for women was the simple sheath dress - tube of fab ric beginning above or below the breasts and ending around the lower calf Two sh oulder straps held the dress up Women, like men, wore loosely fitted tunics Womenintheancientworld.com, Ancient Egypt Online, Survey of Historic Costume Minoans / Mycenaeans 2900 - 1150 B.C. 3 Minoan skirt examples Tailored, cut, and sewn to fit the body more closely, rather than draped Loinclo th: a fitted garment that covered approx. the same area as a pair of modern athl etic shorts Women's skirts were bell shaped and had 2-3 forms: Fitted at the waist, flared gently to the ground Series of horizontal or V-shape d ruffles Decorative bands at the hem Loincloth Apron-like garments were worn by women on top of skirts Men and women wore T-sha ped tunics (women: long, men: short) Survey of Historic Costume, Britannica Greeks 800 - 300 B.C. Garment before the tunic was the chiton - singular rectangular fabric wrapped ar ound the body; secured at shoulders with one or more pins Shawls or cloaks were placed over the chiton Made great use of draping fabrics Chiton Chiton with shawl Survey of Historic Costume Romans Romans called the most basic chiton a tunic (adopted from Greeks) Earliest toga was draped from a length of white wool fabric During the 3rd century tunics leng thened and covered the lower leg In the declining Roman Empire, the dalmatic was the new variant of the tunic Fuller than earlier tunics and had long, wide sleeves 500 B.C. - 300 A.D. Make greater use of cutting and sewing Used more ornamentation Tunic Woman's toga Dalmatic Survey of Historic Costume Byzantine Roman tunic continued in Byzantine Empire Wide, long-sleeved tunic replaced the outer tunic; was worn over an under tunic Under tunic had long fitted sleeves Outer tunic had full, open sleeves cut short enough to display under tunic sleeves A.D. 300 - 1453 Palla was wrapped around the body; covered the upper part of the skirt, the bodi ce, and either one or both shoulders After A.D. 1000 ornamentation increased Mosaic depicting women wearing white under tunics of the 6th century Survey of Historic Costume Merovingian & Carolingian Fall of Roman Empire - A.D. 900 Women wore layered tunics Draped garments were replaced by pieces that were cut and sewn together Linen and wool were produced Loose-fitting shawls or pallalike draperies over tunics Linen shift or chemise was worn closest to the body Knee length under tunic Long, outer tunic Strong Byzantine influences Survey of Historic Costume Middle Ages 10th and 11th centuries 10th century medieval clothing was influenced by classical Greek and Roman dress Women wore loose-fitting chemise (like man's undershirt) Under tunic worn over chemise Floor-length outer tunic with wide sleeves, allowi ng under tunic to show eHow.com, Probert Encyclopedia of Costume, Survey of Historic Costume Middle Ages 12th century Tunic fit more closely that previous centuries Bliaut: tightly fitted one-piece garment Bliaut girone: close fitting garment wi th an upper section joined to a skirt Sleeves tightened at the wrist, widening the shoulder Chemise tightened Tunic wa s secured at the waist eHow.com, Probert Encyclopedia of Costume, Survey of Historic Costume 13th century - 16th century Tight bodices Form-fitting jackets Luxury and embellishment was added Fuller dre sses with shorter trains Shorter and tighter at the waist Long sleeves Padding o f whalebone and steel added to create fullness eHow.com Italian Renaissance 15th and 16th centuries 15th century Venetian women wore gowns with waistline just below the bosom 2nd half of 16th century: normal waistlines in back, dipped Ushape in front Chemise was worn as an undergarment beneath a dress with a second over dress on top Chemise (camicia in Italian) made of linen Sleeves were generally long Peasants were shown wearing them to work Skirts were long 16th century styles became subject to Spanish and French influences Survey of Historic Costume Baroque Period 17th century Chemises and underpetticoats (chemise showed slightly at the neckline and at the edge of sleeves) Mantua - originally a loose gown; later an overgown or robe Bo dice and skirt were cut in one length from shoulder to hem Skirts were composed of several layers So heavy they often required support from whalebone, metal, or other supports Elbow-length, cuffed sleeves Fashion-Era.com, Survey of Historic Costume Rococo Era 18th century Free falling and loose After 1705 it was called the French Sack Dress, Sack Dres s, or chemise Likely developed from the overgown of the 17th century Full elbow length sleeves until midcentury At the second half of the century the sleeves be came narrow to match the empire style Fashion-Era.com, Marariley.net Directoire & Empire Periods 18th and 19th centuries Moved to hoop skirts and the crinoline style shift dress Ankle length or floor s weeping Corsets were placed over the chemise eHow.com Romantic Period 19th century Transition between Empire and newer Romantic styles Change in waistline graduall y took place Chemise was an undergarment Wide, knee length, short sleeves Emphasis was placed on a small waist Bustles, small down or cottonfilled pads th at tied around the waist at the back, held out skirts Waistlines were straight S kirt lengths shortened about 1828 Survey of Historic Costume, Hungarian Museum Crinoline Period 19th century Women's silhouette fits closely through the bodice to the waist, then the skirt wi dens to a full round or dome shape Chemise was an undergarment worn under a cors et Short sleeved, knee-length Camisole or corset cover was placed over the corset Whalebone or steel hoops wer e sewn into a fabric skirt to make a hoop skirt or cage crinoline Survey of Historic Costume, Victoriana Magazine 20th century 1920s Flapper dress was a simple shift dress with glitz Hemlines were rising 1920s flapper dress eHow.com, Etsy 20th century 1950s Balenciaga sack dress Simple, loose style Opposite of the more common nipped-wai st look that designers like Dior were doing Sleeves cut in one with the yoke Rou nd neck Looked forward to the 1960s shift dress Balenciaga 1950s sack dress Victoria and Albert Museum, Metropolitan Museum of Art 20th century 1960s Mod style shift dress Non tapered waist Printed with psychedelic flowers and bold prints Lilly Pulitzer came out with the Lilly shift dress which is still produced today 1965 Yves Saint Laurent Mondrian Day Dress 1960s Lilly Pulitzer Lilly shift dress eHow.com, Metropolitan Museum of Art, Etsy 20th century 1980s Combined with jersey material Worn over a shirt creating a jumper 1980s jumper style shift dress Etsy, Victoria and Albert Museum, eHow.com 21st century Present day examples Michelle Obama wearing a shift dress in her first photograph as the first lady Balenciaga Fall 2010 shift dress Style.com, Concrete Loop A designer must be natural in order for everything to truly come from within you . -Cristobal Balenciaga
Navajo weavers
Third Annual Report of the Bureau of Ethnology to the
Secretary of the Smithsonian Institution, 1881-'82,
Government Printing Office, Washington, 1884, pages 371-392.