“A lot of people see me in the context of streetwear, but that’s not at all how I see myself as a designer.'
of models in the haute couture mood, Gvasalia projected a remarkable series of films of Cristóbal Balenciaga’s haute couture presentations—shot by photographer Tom Kublin from 1960 to 1968—on a giant screen in his atelier during fittings. Unlike the electrifyingly atmospheric, fast-paced, and lavishly produced spectacles that Gvasalia himself masterfully stages, those earlier shows were very different affairs.
Gvasalia also felt strongly about the importance of having an “iconic address—like Chanel has the rue Cambon,” he says. “At Balenciaga, we are kind of like a nomad.” Gvasalia discovered that Cristóbal Balenciaga’s original salons, at 10 Avenue George V, were presently being used as storage, which for him was “blasphemous. I felt very sad—I wanted to give this address back to the house.
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