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Retrospective: Kering celebrates Demna Gvasalia's fashion creations for Balenciaga

Retrospective: Kering celebrates Demna Gvasalia's fashion creations for Balenciaga

Fashion United26-06-2025
The 'Balenciaga by Demna' exhibition was held at Kering. Open until July 9, 2025, it traced Gvasalia's journey as creative director of Balenciaga, from 2015 to 2025.
The cross-shaped installation had a religious feel. It began with a photocopy of the first email exchange between Balenciaga and Gvasalia, in which the brand stated it was not interested in his services. Ironically, 'Balenciaga by Demna' showed how the Georgian designer created an original artistic field, differentiating the fashion house from other luxury brands and establishing it as a hyper-contemporary label. Balenciaga by Demna Credits: F. Julienne
The exhibition revealed his main source of inspiration was everyday objects, to which he gave a luxurious dimension: passports and boarding passes; dollars; shopping bags; and, most strikingly, a bag of spicy chilli crisps turned into a handbag. Balenciaga by Demna Credits: F. Julienne Balenciaga by Demna Credits: F. Julienne
Gvasalia explained the creative process behind each piece (accessory or garment) via an audio system. Regarding the crisps, he recounted arriving at the studio one day without a bag and putting his belongings in the crisp packet, thus sparking an idea for the marketers. Balenciaga by Demna Credits: F. Julienne
Another fundamental aspect of his stylistic narrative, which built upon the previous one, was repurposing; a principle likely inherited from his experience at Margiela. A dress made from a compilation of bras; a jacket formed with used leather boots; T-shirts and hoodies assembled to create a dress; and cowboy boots turned into a bag were all inspiring demonstrations of upcycling. Demna by Balenciaga Credits: F. Julienne Demna by Balenciaga Credits: F. Julienne 'Demna by Balenciaga': reconstruction of a contemporary cultural heritage
Iconic pieces remained, such as the Speed Trainer (2017). 'This was the first trainer we created at Balenciaga. It has a technical sock-like upper attached to an ultralight sole,' Gvasalia explained in a voiceover. 'I wanted a trainer that you could just slip on without having to tie laces or anything. Just an easy, practical and comfortable shoe. It has since become a product that has completely redefined the way we design shoes and has led to a whole new aesthetic for trainers globally.' Demna by Balenciaga Credits: F. Julienne
Another example was the haute couture bell dress in rigid guipure lace. 'It has no visible structural elements, apart from a few invisibly placed threads inside, which allows for a true moulding of the silhouette, inspired by the paintings of Velázquez,' Gvasalia commented. 'The dress was designed and crafted to be as fluid and seamless as possible, then shaped using a technique called 'blocking', a process that took an almost infinite amount of time to achieve.' Balenciaga by Demna Credits: F. Julienne
References to sportswear and workwear were present, as were deconstructed suits with broad shoulders. However, there was no allusion to the negative publicity that had surrounded Balenciaga. The visit ended with a 'thank you' from the designer, in French, and visitors received a magazine-style catalogue compiling all the exhibited pieces. Demna by Balenciaga Credits: F. Julienne Demna by Balenciaga Credits: F. Julienne
Gvasalia's subsequent role at Kering, as creative director of Gucci, was alluded to through a bag from the Gucci × Balenciaga 'Hacker Project' collaboration (2021). The monogram of the former Italian fashion house bore the inscription: 'This is not a Gucci bag'. What the future 'it' bag for Gucci would be remained to be seen. Balenciaga by Demna Credits: F. Julienne This article was translated to English using an AI tool.
FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com
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Who's deceiving whom?: The Art of the Lie, by Laura Shepherd-Robinson, reviewed
Who's deceiving whom?: The Art of the Lie, by Laura Shepherd-Robinson, reviewed

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Who's deceiving whom?: The Art of the Lie, by Laura Shepherd-Robinson, reviewed

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Jane Austen's subtle food commentary
Jane Austen's subtle food commentary

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  • New Statesman​

Jane Austen's subtle food commentary

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Netflix snaps up sex-filled period drama with impressive 97% Rotten Tomatoes score - and it makes Bridgerton look tame
Netflix snaps up sex-filled period drama with impressive 97% Rotten Tomatoes score - and it makes Bridgerton look tame

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Netflix snaps up sex-filled period drama with impressive 97% Rotten Tomatoes score - and it makes Bridgerton look tame

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The raid leaves Margaret with a £100 court fine - which she pays off by selling her youngest daughter's virginity. She sets up a plan to sell to the highest bidder, after previously refusing one of the brothel's client's offers of £50 to have sex with her daughter. Meanwhile, Margaret's oldest daughter Charlotte (Downton's Jessica) has a reputation as the city's most coveted courtesan. She is expected by Sir George Howard (Mamma Mia's Hugh) to sign a contract so he would formally become her 'keeper'. By becoming her keeper, George would pay for her lavish lifestyle in return for Charlotte having sex with nobody else and legally becoming his property. In one amusing scene, he gifts her a pineapple, which he believes to be the finest luxury available - and later dons her clothes as he waits for her to return home. But in a fit of jealousy, after discovering she had not been 'living like a nun' as promised, he successfully bids for Lucy's virginity. While the pair then do not have sex, he forces Lucy to say otherwise. Viewers were captivated by Hugh's character when the programme was aired on BBC Two in 2020 and laughed at the funny gesture of gifting a pineapple. 'No one wants a man who thinks she's a pineapple', wrote one, while a second joked: '"You are the pineapple of Great Britain." Imagine interrupting sex to say that.' A third commented: 'Just what every woman wants, a pineapple.' Some made comments on perceived inaccuracies in the show, saying it is not historically correct for the sex workers to have 'perfect hair and teeth'. The fourth instalment of the much-loved Netflix series (pictured) will return to screens in 2026 and as of May, 'Netflix has shared a huge update on the show's future' It comes hot on the heels of the success of Bridgerton for Netflix, with series five and six of the period drama now reportedly confirmed. The fourth instalment of the much-loved Netflix series will return to screens in 2026 and as of May, 'Netflix has shared a huge update on the show's future'. According to The Sun, Netflix has bagged a multi-million pound investment to make series five and six. A TV insider told the publication: 'After introducing the controversial gender swap at the end of series three which saw Michael Stirling switched to Michaela, there is a chance execs could skip ahead to Francesca's story. 'They certainly weren't afraid to dabble with Julia Quinn's timeline by swapping the order of Colin and Benedict's tales.' The comment was in reference to the introduction of Michaela Stirling (Masali Baduza), the cousin of Francesca Bridgerton's new husband John Stirling (Victor Alli), at the end of the last series. Michaela, based on a character in the original Bridgerton books called Michael, leaves Francesca speechless - opening up a new romantic prospect for her, despite her recent marriage. MailOnline contacted Netflix for comment about this at the time. Series four, meanwhile, will centre on the love story of Luke Thompson's character Benedict Bridgerton and a new leading lady Sophie Baek, played by Yerin Ha. Harlots is available to stream on Netflix. The guide to London's sex workers that inspired Harlots By Hallie Rubenhold for The Mail On Sunday Harlot was inspired by the real people and events depicted in Hallie Rubenhold's book, The Covent Garden Ladies, which details the story behind one of history's most notorious publications, The Harris's List Of Covent Garden Ladies. At the beginning of Harlots, there is a flurry of excitement as the latest edition of The Harris's List, a guide to the capital's sex workers, arrives from the bookseller. All of the 'ladies of pleasure' are eager to hear what has been written about them, anxious that whatever is said will make or break their careers in the sex trade. Scenes like this would have unfolded every Christmas between 1757 and 1795 when the guide rolled off the presses. The Lists were more than just a dry catalogue of names and addresses, but a wittily written chronicle of London's sex trade. Each edition contained information about the women who worked in it, providing details of their ages, physical appearance and sexual specialities as well as stories about these women's lives. The thousands of women from all walks of life who featured in its pages include the likes of Miss Noble who was known for her 'skill in the reviving the dead' with her tongue of 'double charm', or Miss West 'who can pick her gallant's pocket very coolly' while in the act. Miss Love of 14 George Street is celebrated for her 'dark complexion'. The lists are filled with others who led lives as actresses, servants, shopkeepers, nursemaids and even a number who were married women. 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