“THIS COLLECTION IS THE RESULT OF A FEELING.
WE WORKED WHILE GETTING TO KNOW EACH OTHER, LEARNING TO UNDERSTAND ONE ANOTHER.
- WE BUILT OUR OWN LANGUAGE, FULL OF NEW WORDS AND TIMELESS ONES.
WE SEARCHED, WE TRIED, WE REMEMBERED.
THIS COLLECTION IS THE RESULT OF THE WORK OF THE PEOPLE IN THE ATELIER, HUMAN BEINGS WHO ARE COUTURE, BECAUSE COUTURE IS MADE BY THE PEOPLE WHO LIVE IT.
THIS NOTE IS TO THANK EACH AND EVERY ONE OF THEM FOR THEIR TIME, LOVE, AND COMMITMENT.
THIS IS OUR COLLECTION, THIS IS OUR WORK, THIS IS BALENCIAGA COUTURE, NOW.” Pierpaolo Piccioli
The weave of Balenciaga Couture
In everything that is currently trending, those who built and sustained empires from the shadows have been entirely forgotten. Instead of highlighting the architects behind the final image, contemporary industry culture prioritizes the image itself and its immediate audience, fixating on consumer perception and their superficial demands for optimization. Yet, no further evolution can be achieved in an era where resources have become transparent, visible, and universally known, without reinstating “recognition” as a foundational element that was lost long ago. This means recognizing the souls who dedicated themselves to creating and mesmerizing eyes behind screens, individuals whom the public knows nothing about other than their sterile status as “employees.”
Balenciaga has returned in a new iteration under the creative direction of Pierpaolo Piccioli, who served as the primary catalyst in reviving this sense of recognition. With his distinct lexicon, Piccioli resurrected the heritage and genetic code of Cristóbal Balenciaga for the house, a revival that manifested clearly in his debut Haute Couture presentation for the brand. lthough the school of Valentino visibly informs Piccioli’s stylistic approach, this lineage ultimately bolstered his concrete vision for materializing Balenciaga Haute Couture channeling the pure essence of Cristóbal without inflicting deep fractures that alienate the house’s historical identity.
The silhouettes established a seamless synergy with the venue, framing the overarching vision as a core, structural element of modern luxury.
The Sonic Landscape
A carefully curated tracklist anchors the sonic landscape of this piece, opening with Keith Thomas’s composition “I Could Fall in Love,” which ANOHNI performs and produces alongside engineer Chris Elms (© Rebis Music / ℗ Yellow Elephant Music). Next, a haunting rendition of Lou Reed’s “Perfect Day” composed by Reed and produced by Hal Willner..rears its head, featuring ANOHNI’s commanding vocals as originally captured on Reed’s studio album The Raven (© Sony Music / ℗ Oakfield Avenue Music Ltd.).
The journey deepens with ANOHNI’s own “Miracle Now”. A stripped-back composition where she commands both vocals and piano (© & ℗ Rebis Music). Leading into “My Lord My Love”, composed and produced by ANOHNI and performed alongside the Johnsons. Originally released on their Thank You For Your Love EP (© & ℗ Rebis Music). The editorial sequence culminates in a specialized remix of “Hope There’s Someone”, composed, vocalized, and remixed by ANOHNI. Breathing new life into the foundational track from the seminal album I Am a Bird Now (© & ℗ Rebis Music).
The Three-Dimensional Thesis and Identity Reset
Following this, Piccioli pivoted toward Cristóbal’s foundational thesis: working within three dimensions. These dimensions dictate the fundamental structural architecture of any masterful execution centered on uncompromising luxury and refined final execution.
Is it not an act of rigorous corporate recognition to wipe a multi-million-follower social media account completely clean, placing the execution team itself at the forefront of the narrative instead of market-driven distractions?
The house’s inaugural posts following the digital reset concentrated on three definitive profiles. It showcasing the collective effort of a 39-person team spearheaded by the technical vanguard of the atelier:
- Suzy: Her role bridges the Studio Créatif and the Ateliers de Couture. The white coat (blouse blanche) she wears represents the traditional and historical emblem of the expert artisans (les mains). Within the French atelier system. She is responsible for pattern-making, translating creative concepts into three-dimensional sartorial architectures that meet the rigorous standards of Haute Couture.
- Christine: Working within the Studio Créatif, she participates in shaping the visual identity. Developing the collection’s individual pieces before they transition into the final stage of physical execution.
- Operating within the Studio Créatif, Tidjane spearheads raw conceptual development, drives aesthetic research. To translate the creative director’s philosophical vision into tangible design frameworks.
The Anatomy of Look 1
The narrative then transitions directly to the runway. Where the show was opened by model Anok Yai in an ensemble meticulously documented by Balenciaga:
Look 1, Anok: Satin Feather-Embroidered Balloon Jacket In Sunset Red Silk Gazar, T-Shirt In White Silk Duchesse Satin, Extra-Large Pants In Sahara Beige Super 100s Wool, Opera Gloves In Forest Green Leather, Siren Pump In Dark Violet Suede.
This opening look delivered an immediate structural preview of what was to unfold down the runway lineup. The collection marked the house’s 55th Couture presentation. Spanning 51 distinct looks where each silhouette represented a dialogue between what the past remembers and what the present aspires to achieve.
Ultimately, Balenciaga under Piccioli’s direction articulated a singular, existential truth: Haute Couture belongs to its creators. It begins with the technical team of the atelier. Followed by its structural anchor, Piccioli, who commands the legacy of Cristóbal Balenciaga articulated entirely in his own vocabulary.