Read CathyHoryn's review of Balenciaga's first post-scandal show at ParisFashionWeek: 'On Sunday, Demna set the stage as a clean slate'
. You could hardly see the clothes. Indeed, they seemed incidental to the scenery, and in those choices, people perceived cynicism from Demna. He was used to being a provocateur, and a good one, but in all likelihood, he either was flying so fast last fall that he didn’t look hard enough at the contents of the ads before they were published, or he thought he could sit on the edge of provocation. Both he and the company have since offered their explanation and mea culpa.
On Sunday, Demna set the stage as a clean slate: a long and luminous room lined with muslin — the off-white material used for making the first samples in couture and better ready-to-wear. The setting was in the sleek lower level of the Louvre, where most fashion shows used to be held before brands got so rich and insisted on having their special venues. Chanel, Dior, and even Saint Laurent used to show under the Louvre. The director Robert Altman filmed scenes for “Pret-a-Porter” there.
They are perfectly made — painstakingly assembled and pressed sections of trousers that hardly look deconstructed, even at close range. The coats and jackets have the slightly oversized, broad-shoulder look that Demna has established at Balenciaga. And a few coats — hard to tell from photos — have that subtle potato-sack shape that is classic Cristobal. In short, the method of deconstruction is an advance of the technique, partly because it’s so.
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