BALENCIAGA SPRING 24

Since Demna’s inception of VETEMENTS, his keen observations of street fashion and occupational attire have always influenced his designs at BALENCIAGA as well. This theme is once again at play in the latest Balenciaga video, and this time, the street in focus is Avenue Georges V.

The time-lapse footage captures the bustling activity of people entering and exiting the Balenciaga maison at number 10, or simply passing by. From denim-clad teenagers to motorcycle delivery personnel, bourgeois dog walkers, skateboarders, and the entourages of fashion-forward individuals donning black hoodies—this is how the world would look if everyone embraced Balenciaga’s aesthetic.

The video is entertaining, showcasing the insider members of the Balenciaga gang navigating the unexpected challenge of a sudden downpour in Paris. A character clad in a long beige mackintosh with a tartan lining strolls out of the house with effortless cool, only to panic and pat themselves down upon realizing they forgot their keys or, more likely, their phone.

Meanwhile, others frantically search for their Uber or attempt to hail a cab. The rain proves to be a significant inconvenience even for the glamorous figures—perhaps there for a couture fitting—as they hurriedly seek refuge in the doorway, wearing their silver-sequined floor-length evening dresses, regardless of the daytime hour.

By aptly naming the collection Capital B, Demna emphasizes his focus on Paris and the Balenciaga house, steering the brand narrative in that direction. The collection’s second iteration takes the form of a lookbook, reportedly shot in magnificent rooms overlooking the Place Vendome and the Arc de Triomphe.

Here, the distinctive Balenciaga silhouettes are prominently featured: oversized suiting, enveloping trapezoid coats, voluminous trenches, hoodies, and the ever-present bug-eyed ‘Dynamo round’ shades. As a pre-collection, it encompasses the entire Balenciaga spectrum, spanning womenswear and menswear, from formal black tailoring to denim, motorcycle leathers, and sweatpants. Interspersed within are pieces from the high-luxe ‘Garde-Robe’ collection, including the silver-fringed embroidered dress.

However, it is the accessories in Demna’s Balenciaga world that teeter on the line between reappropriated common objects and the absurd. His ‘towel’ wrap skirts are practically indistinguishable from actual towels.

The ‘rodeo boot’ bag resembles a tote carrying a colossal pair of brown leather boots. The string market bags retain their essence but are adorned with rhinestones, elevating their appearance.

While some of these items are familiar Demna-isms, the hyper-elongated turned-up square-toed “Romeo mules” mark a fresh introduction. They border on caricatured swagger, reminiscent of characters from cartoons or computer games (though Demna did not explicitly reference them this time).

Yet, one can discern his signature chuckle behind this work, constantly questioning: Is it cool, or is it silly? Is it cool because it’s silly? And at what point does it all become normalized again, as if this is just the way everyone dresses on the street?