Balenciaga by Demna: An End of An Era

At Kering's Paris headquarters, a one-time exhibition unfolds Demna's work for Balenciaga, featuring pieces across 30 collections from the past decade.

 
 

In the historic Kering headquarters at 40 Rue de Sèvres, lies Demna Gvasalia’s resume from the last decade at Balenciaga. A decade of radical creation and endless ideas unfolded in this complete, uncensored retrospective, curated by Demna himself.

Demna’s magnitude as a designer cannot be denied, although many critics have tried; this exhibit shows his credentials as a creative force, a marketing genius, and a brilliant couturier. Through 101 selected pieces, we are taken through Demna’s aesthetic autopsy, inviting us to explore how the designer revolutionized the face of contemporary fashion, challenged pre-established rules, and posed a satirical lens on society through his designs.

Demna had become a synonym for oversized, deconstructed silhouettes and has deeply influenced fashion’s embrace of streetwear, often sparking controversy with his idea of wearable casual wear.

The exhibition opens with a rejection letter Demna received in 2007 from Balenciaga, which reads: "Dear Demna, Thank you for your interest in an internship at the Menswear Design Team at Balenciaga. We've carefully reviewed your application and, after consideration, we will not be moving forward with your candidacy at this time. Your profile will remain on file should future opportunities come up."

This email isn’t about holding a grudge, but rather a gentle reminder that rejection can often be a redirection toward something greater, like in Demna’s case, where missing out on an internship led to becoming a creative director.

Now, as he prepares for his last couture show, Demna concludes his long journey with the presumption that his force cannot be denied, and we’re left longing to see his new chapter in Gucci.

 

Courtesy of Balenciaga

 

Balenciaga by Demna is on view from June 26 through July 9, at 40 Rue de Sèvres, 75007, Paris.

Paris Couture Week Predictions Through the Lens of Charles Worth's Current Retrospective @ the Petit Palais

Unlike other fashion, Paris moves through layers of history and a continuous dialogue between tradition and change. But in today’s challenging and ever-changing economic and political climate, what can we expect from this trendsetting city next?

 

Worth & Bobergh, Robe à transformation, vers 1866-1868.
Faille verte et tulle de soie. Philadelphia museum of Art, États-Unis d’Amérique.
© 125th Anniversary Acquisition.
Gift of the heirs of Charlotte Hope Binney Tyler Montgomery, 1996, Philadelphia museum of Art.

 


text by Kim Shveka


As Haute Couture week descends on Paris, the city reasserts its place as the center of gravity in fashion, the stage where elegance is both performed and consumed. The newly opened Charles Worth exhibition, Worth, Inventing Haute Couture, at the Petit Palais deepens this position, reminding us that Paris’s fashion dominance is not merely current. It is layered with history, narratives, and unbreakable foundations that were built since the 15th century. Worth is cited as the father of Haute Couture; he altered the way to view fashion, from practicality to a status of art. He created a system that is defined by exclusivity, artisanal craft, and aesthetic authority that helped distinguish Paris as a city where fashion is understood not only as clothing, but as culture. The aim was not just beauty, but distinction—an aesthetic nationalism that still echoes in the way French fashion is marketed and perceived today. From this foundation, figures like Coco Chanel, Christian Dior, and Yves Saint Laurent built empires not only by introducing new silhouettes but by shifting the paradigm of femininity, luxury, and modernity. The designers didn’t just reflect French culture; they directed it to the rest of the world.

The other fashion capitals each carry their own codes. London is where fashion is pushed to its most conceptual edge. New York delivers commercial clarity and cultural speed. Milan prizes structure, refinement, and a family-driven approach to legacy. But Paris continues to present itself as the stage where it all connects—the final act, the definitive voice. Its claim to be the capital is not just symbolic; it is structural: the power, the history, and the industry still move to the Parisian rhythm. And yet, that same stage is now caught in a cycle that resists disruption.

Alongside the grandeur of the maisons and the ritualistic anticipation of the shows, there’s an unsettling pattern repeating itself in the background. In the span of a few months, many of the major houses in the fashion industry have appointed new creative directors, reshuffling the same names that have long been in circulation. With every season, the game of musical chairs intensifies, and what once felt like an exciting leap now looks more like a closed loop. The question is no longer who gets the chair but whether there are any chairs left for those who have never had the chance to sit in one.

This past year has seen dramatic shifts across the Parisian landscape. After years of dominating Balenciaga with a confrontational, minimal lexicon, Demna left the house and was swiftly appointed at Gucci. In his place, Pierpaolo Piccioli, formerly of Valentino, took over creative direction at Balenciaga, signaling a sharp pivot from shock to softness, from provocation to romantic craft. At Dior, Jonathan Anderson, who had already proven his capacity for reinvention at Loewe, was named creative director for the entire house, including menswear, womenswear, and couture, a role no one has held since Christian Dior himself. Sarah Burton, once the artistic director of Alexander McQueen, made her debut at Givenchy with a recalibrated take on femininity anchored in tailoring and strength. Meanwhile, Glenn Martens, already at Diesel and Y/Project, was announced as the new face of Maison Margiela following John Galliano’s departure, with a highly anticipated debut planned for tomorrow.

 

Gazette du Bon ton, Entre chien et loups, 1912. 24,7 × 19,2 cm. 
Palais Galliera, musée de la Mode de la Ville de Paris. CCØ Paris Musées / Palais Galliera, musée de la Mode de la Ville de Paris.

 

On the surface, this looks like change. But beneath the headlines and the hashtags, it’s the same logic that’s been quietly driving the industry for years. None of these appointments were about discovering an unheard voice or matching a designer with a house based on his aesthetic affiliation; they were about bankability. The equation is simple and cynical: if a designer has already succeeded commercially, they can probably do it again. A recognizable name promises brand buzz, social media traction, and a fast return on investment—all in a fragile market where luxury sales are under pressure and leather goods are expected to do the heavy lifting.

This tendency has made the creative director role more of a function than a vision. It has also made the path to that role narrower than ever. The doors that were once open for young designers with new ideas are now closed by default. It is not that the industry doesn’t want new voices; it simply doesn’t leave them enough space to develop, to fail, or to prove themselves beyond a single collection. With every appointment handed to a designer who has already made it, another seat is taken from someone who hasn’t.

The expectation is that each new director will immediately stabilize revenue, secure brand loyalty, and carry the weight of legacy while still offering something “fresh.” But freshness is difficult to fake, and even harder to maintain when everyone is rotating between the same houses. The result is a kind of creative fatigue. Consumers may still buy, but the cultural impact of each new collection grows weaker.

 

Worth, Manteau de cour porté par Franca Florio, 1902. Palazzo Pitti / Galleria del Costume , Florence, Italie. 
© Museo della Moda e del Costume, Palazzo Pitti, Gallerie degli Uffizi, Florence. Ministero della Cultura.

 

John Galliano’s recent departure from Maison Margiela deepens this dilemma. His Artisanal Spring 2024 was arguably the most talked about in years, precisely because it evoked a time when a fashion show was true art, when fashion shows aimed to move, not sell. Yet, such significant shows appear so rarely now. And with the latest wave of appointments, they seem even less likely. Why, then, are even the most profitable luxury houses struggling to produce that level of artistry? Can a system so driven by metrics and performance indicators ever make room for true creative vision again? These new directors may bring efficiency, consistency, or even spectacle, but they don’t replace what the industry is truly missing: a sense of forward motion. The biggest luxury brands carry immense responsibility; they dictate trends and set the standard. Yet, they consistently fail to raise the bar, to truly innovate, and to genuinely make us feel something.

This is the paradox Paris finds itself in. The city still holds the world’s attention, but it is no longer opening doors the way it once did. Couture Week is the moment when fashion is meant to step outside of commerce and return to craftsmanship and conceptual purity. But even here, the same logic applies. Trust is placed in those who have already delivered profits, not in those who could shape the future if only given the platform.

What is missing is not talent. It is the willingness to take a risk on someone who is not already on the circuit. The problem is not just that the chairs are constantly changing; it’s that they are being filled in a closed room. The game is being played by the same few, while others wait in the wings for a door that may never open.

As the week unfolds and the collections are unveiled, Paris will once again claim its position at the center of fashion. But unless the industry begins to create space for new perspectives, it risks becoming a hall of mirrors. The reflection is beautiful, but it does not move.

 

Nadar, La comtesse Greffulhe, 1886.
Procédé photomécanique, 29 × 16,8 cm.
Palais Galliera, musée de la Mode de la Ville de Paris.
CCØ Paris Musées / Palais Galliera, musée de la Mode de la Ville de Paris.

 

Worth, Inventing Haute Couture is on view through September 7th at the Petit Palais, Av. Winston Churchill, 75008, Paris.

The Artistry of Azzedine Alaïa and Thierry Mugler meets in a celebration of their shared vision in Paris

 

Veste en astrakan d’Azzedine Alaïa, 1980. © Julien Vidal

 

text by Eva Megannety

The legacy of two fashion visionaries intertwines in a new exhibition at the Fondation Azzedine Alaïa, where the artistry of Alaïa and Thierry Mugler meets in a celebration of their shared vision. Running from March 3rd to June 29th, 2025, this retrospective honors the friendship and creative affinities between the two designers, offering a rare glimpse into their personal and professional bond.

Azzedine Alaïa found a kindred spirit in Thierry Mugler, whose larger-than-life creations and theatrical approach to fashion were as iconic as the silhouettes he designed. Their relationship began in 1979, when Mugler invited Alaïa to design tuxedos for his autumn-winter 1979-80 collection. The collaboration marked the beginning of a decade-long friendship that would leave an indelible mark on the fashion world.

In this exhibition, over forty works from Mugler’s archive are displayed alongside Alaïa’s own creations, allowing visitors to see how their shared creative spirit manifested in their designs. From Alaïa’s impeccable craftsmanship to Mugler’s bold experimentation with shape and form, the two designers were united by a mutual respect that transcended the runway. Both were masters of the female form, crafting garments that enhanced and empowered, each piece telling a story of elegance, strength, and sensuality.

Alaïa’s reputation as a perfectionist who favored intimate settings and close relationships with his clients contrasted with Mugler’s penchant for dramatic spectacles and larger-than-life fashion shows. Yet, together, they influenced each other in profound ways. Mugler’s theatrical flair found a new sophistication in Alaïa’s structured designs, while Alaïa’s meticulous attention to detail encouraged Mugler to refine his aesthetic and focus on the body’s natural lines. Their shared vision culminated in the 1980s, when both designers elevated glamour to new heights, drawing inspiration from the silhouettes of the 1930s and 1950s.

This exhibition is not only a celebration of two extraordinary designers but also a testament to the enduring power of collaboration. Alaïa’s dedication to preserving and enhancing his own work—through his foundation and vast personal archive—ensures that the dialogue between him and Mugler will continue to inspire future generations of designers and fashion lovers alike.

The Fondation Azzedine Alaïa, located at 18 rue de la Verrerie in Paris, remains a cultural beacon, housing not only Alaïa’s collections but also a space for art, design, and creative expression. The exhibition invites visitors to immerse themselves in the world of two legendary couturiers whose mutual admiration and creative exchange left an indelible mark on the fashion industry.

 
 

Thierry Mugler and Azzedine Alaïa 1980/1990: Two decades of artistic affinities is on view March 3 to June 29, 2025 at Saillard Fondation Azzedine Alaïa, 18 rue de la Verrerie, Paris 4e