Under Olivier Rousteing, sales have increased sevenfold, and Balmain’s menswear market—which has in recent years become an index of a brand’s cool factor—has swelled to approximately 40 percent of its business.
in 2011, at 25, and since then has consolidated the house’s power by courting the gaze of an extremely online demographic. He’s the chief force driving high Paris fashion from its old cloture, and—with some controversy—through a teeming, buzzy, digitally shaped new world.
“For me it’s been very important to use clothes to talk about subjects such as diversity and ‘pop’—pop culture, population,” he says. “When I started my Instagram in 2013, I had a meeting with my president, who asked, ‘What are youSince Rousteing’s wild ascent began, he has understood himself as an avatar of new paths: long hours, broken barriers, direct access, success beyond the old sclerotic elite channels.
When Rousteing ascended two years later, during a reshuffle following Decarnin’s sudden departure, he combined mass-market pragmatism with a certain stridency of form and cut . “He represents the good in fashion—energy, passion, and fun,” says his fellow designer Kim Jones, who leads menswear at Dior and women’s at Fendi. Some say it’s easy to miss how deeply rooted in a distinctly French idea of craft Rousteing’s garments are. “People tend to think he’s, you know, a white girl from L.A.
These days, you do not need to be in the fashion or entertainment elite to attend the unveiling of a Rousteing collection, which is not to say it’s easy to get in. Thousands of tickets to his 10th-anniversary Balmain runway-cum-concert in September, Balmain Festival VO2 —Balmain’s second effort in this large-scale multimedia vein—were released online one morning in June, for a minimum donation of 15 euros, and were gone by the end of the day.
“At the end of the day, I’m paid to create clothes and to be a visionary in the fashion world,” he says. “But the idea that Black lives matter? To me this is not politics; it’s human rights,” he says. “Sometimes fashion people don’t get it and are like, ‘Oh, we don’t want to take a side.’ And I’m like”—he scrunches up his face—“Model Julia Stegner wears a Balmain dress. Model and actor Ajani Russell wears a Balmain jacquard top and skirt. Actor Zazie Beetz wears a Balmain crop top and skirt.
His decision to go to fashion school, at Paris’s ESMOD, flummoxed his family. “The beauty of my parents is that theygot it,” he says. “When I come back home, they still don’t understand. ‘Why this distress? Why this pressure—for a pair of shoes?’ ” His decision to leave fashion school after only a few months, launching into a competitive creative field with neither entrée nor degree, concerned them more.
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