Several designers who worked for Balenciaga would go on to open their own successful couture houses, notably Oscar de la Renta (1949), Andre Courreges (1950), Emanuel Ungaro (1958), but his most famous and noted protégé was Hubert de Givenchy, who was the lone designer to side with Balenciaga against the Chambre Syndicale de la Haute Couture Parisienne and also the press over the scheduling of his shows. Her haute couture bills were eventually discreetly paid by her father-in-law, Joseph Kennedy. Kennedy was president, he apparently feared that the American public might think the purchases too lavish. Jackie Kennedy famously upset her husband by buying Balenciaga's expensive creations while John F. In 1960, he designed the wedding dress for Queen Fabiola of Belgium made of ivory duchess satin trimmed with white mink at the collar and the hips. His often spare, sculptural creations-including funnel-shape gowns of stiff duchess satin worn to acclaim by clients such as Pauline de Rothschild, Bunny Mellon, Marella Agnelli, Hope Portocarrero, Gloria Guinness, and Mona von Bismarck-were considered masterworks of haute couture in the 1950s and 1960s. His trademarks included "collars that stood away from the collarbone to give a swanlike appearance" and shortened "bracelet" sleeves. In the 1960s, Balenciaga was an innovator in his use of fabrics: he tended toward heavy fabrics, intricate embroidery, and bold materials. His manipulation of the waist, in particular, contributed to "what is considered to be his most important contribution to the world of fashion: a new silhouette for women." In 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut like kimono. Other contributions in the postwar era included the spherical balloon jacket (1953), the high-waisted baby doll dress (1957), the cocoon coat (1957), the balloon skirt (1957), and the sack dress (1957). In 1955, he designed the tunic dress, which later developed into the chemise dress of 1958. In 1951, he transformed the silhouette, broadening the shoulders and removing the waist. The fluidity of his silhouettes enabled him to manipulate the relationship between his clothing and women's bodies. His lines became more linear and sleek, diverging from the hourglass shape popularized by " Christian Dior's New Look". However, it was not until the post-war years that the full scale of the inventiveness of this highly original designer became evident. However, Balenciaga testified that he refused Hitler's request to transfer his company's activities to Berlin. The company was one of only 60 companies allowed to operate during the occupation, and the ongoing supply of raw materials from Spain, which were in short supply in Paris at the time due to the war, gave Balenciaga a competitive advantage. Historians believe that Balenciaga's continued activity during the Nazi occupation of Paris was made possible by Balenciaga's connections with Adolf Hitler's close ally, General Francisco Franco. During this period, he was noted for his "square coat", with sleeves cut in a single piece with the yoke, and for his designs with black (or black and brown) lace over bright pink fabric. Ĭustomers risked their safety to travel to Europe during World War II to see Balenciaga's clothing. Carmel Snow, the editor of Harper's Bazaar, was an early champion of his designs. In the period of two years, the press lauded him as a revolutionary, and his designs were highly sought-after. Balenciaga's success was nearly immediate. īalenciaga opened his Paris couture house on Avenue George V in August 1937, where his first fashion show featured designs heavily influenced by the Spanish Renaissance. When the Spanish Civil War forced him to close his stores, Balenciaga moved to Paris. The Spanish royal family and the aristocracy wore his designs. Balenciaga dresses on display in Florence, ItalyĬristóbal Balenciaga opened his first boutique in San Sebastián, Spain, in 1919, and expanded to include branches in Madrid and Barcelona.
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