The house of Balenciaga is entering a very exciting period, marked by color, volume, and new silhouettes. While the brand will likely lose some of the gimmicky edge that once served as bread and butter for the youngest generation of anti-fashion fans, this shift feels like an organic continuation of a new chapter rather than a rupture.
Since taking over as creative director of Balenciaga, Demna Gvasalia has divided the fashion world into two opposing camps: those who embraced his anti-fashion vision and those who mourned the original aesthetics of the house’s founder. Whereas in the past a fashion house might have kept its creative visionary at the helm for decades, today a change in leadership feels more like a mandatory facelift every ten years — purely for the sake of “refreshing.” These transitions can be radical, and Balenciaga is a prime example: from Demna (now creative director of Gucci) to Pierpaolo Piccioli (formerly of Valentino).
It was entirely predictable that the house would now take on a new dimension. Demna’s dark, highly distinctive aesthetic had taken deep root, leaving behind a legacy that cannot be shed overnight. Under his direction, Balenciaga built a strong position as a brand for the youngest generation of fashion insiders — those who reject conventions and openly oppose anything mainstream.
Few would envy Piccioli’s new role. Yet this is precisely where his talent and character came into focus. He delivered exactly what he does best. Everything we associate with him was present: volume, color, and sculptural silhouettes — all while paying homage to both Cristóbal Balenciaga and, to a significant extent, Demna himself. Piccioli followed the existing visual language carefully enough that the house did not completely lose its core clientele, while simultaneously introducing a new expression that feels both natural and convincing.
Although several archive looks were subtly reworked, the main — and perhaps the only true — source of inspiration was Balenciaga’s balloon, or so-called sack dress from 1957, originally conceived as an antidote to the era’s obsession with Dior’s New Look.
Classic Demna-era elements were also present: restrained styling, leather crop tops, and black tailored trousers served as a visually pleasing echo of a fading chapter. Piccioli enriched this darker foundation with his signature volumes, sculptural forms, rich colors, and couture-level detailing — such as feather applications on voluminous skirts. These looks were styled with narrow stilettos and velvet flip-flops, striking a deliberate contrast between elegance and nonchalance.
He also offered a discreet preview of several new handbags for the house, notably reduced in both size and visual complexity. There was no trace of gimmick-driven accessories — no Labubu in sight — and instead, the classic city bag returned in refreshed, archival-inspired colorways.
