Shining in the last of ages, the onset of this year brings in a celebration of surrealism and chasm translating in fashion. Schiaparelli embraced the flamboyance of science fiction, while on the other end of the spectrum, Balmain stunned all by entwining into the soul of art du jardin (translation: art of garden) and a riot of colours. Balmain’s affirmation as a fashion future house as opposed to Schiaparelli’s commitment to the timeless allure and details of delicate handmade ship, positions the two a in bi-dimensional stream– making for an ideal case study. With well-received themes from the two fashion houses, a global audience saw coming together of fashion foyers on stilts to discuss fresh waves of inspiration while tracing back personal connections. Where Olivier Rousteing, creative director of Balmain, conceded to ornamentalism of personality preference to display a carnival of colours, bold motifs, and elements from gardens, there Daniel Roseberry, creative director of Schiaparelli, borrowed inspiration from 20th Century Fox fanfare, seeking a revival of themes like Alien and otherworldly.
Co-extending the thoughts coming from the length of the world on these fashion presentations, Svasa forms an independent narrative informed by Mesopotamian inspiration flowing in the undercurrents.
Flowers of all hue, and without thorn the rose.
Another side, umbrageous grots and caves
Of cool recess, o’er which the mantling vine
Lays forth her purple grape, and gently creeps
Luxuriant; meanwhile murmuring waters fall
Down the slope hills, dispersed, or in a lake,
That to the fringéd bank with myrtle crowned
Her crystal mirror holds, unite their streams.
Prose from Introductory to Mesopotamia-
The Garden of Eden by John Milton
(L-R) Baby Attaché; Skeletal Livery
Off the Ramp- Schiaparelli
Otherworldly as the tone for Schiaparelli, we notice the use of computational silhouettes which incorporate movements and ease using fringe, feather and sheer fabric. The fashion house goes on their derivation, but a technique and a form, each stand out for all to notice. A baby attaché (an attachment of a baby to the garment), bejewelled in repurposed anodic components from electrical waste produced before 2007, not only dazzles but broadens a viewer’s disposition with an appetite for exceptional-experimental creative direction. Piloting towards the Skeletal form, assuming the shape of an archetype, appears a well-fitted livery, dressed in ivory-white with protrusions of the likes of a skeleton. The Garden of Eden, mother of surrealism, can be further narrowed down in context of the show. Parallels with phrases from one of the many poems are reflected upon. Crystal mirror, fringéd bank, luxuriant, and waterfalls, once simplified, can be spotted through the elements as part of the showcase.
(Top-Bottom) The Balmain Show Finale; Naomi Campbell and opulent headgear
Balmain authentically draws onto an entire boutonniere cast in gold attached to a camel-coloured double-breasted jacket. Naomi Campbell draws on to metaphorical ‘myrtle crowned’ with her pièce de résistance headpiece dividing her face in two. Rustling in colours, as an ode to warriors of Congo, an elusive commonality rises, where the bright colour of flamboyance mirrors a sunset-garden composite. Polka dots translating to pointillism of eyes and other bolder motifs, Rousteing navigates the brand away from muted. Parading through– Flowers of all hue, gently creeps, and Lays forth her purple grape, are a few dictions emulated on stage.
Appreciating the pulsating nature of expression, Svasa presents to you the two leading fashion houses– Balmain and Schiaparelli, through an alternate lens of Mesopotamian tales, spinning the spindle of narrative yarns while indulging in the classics and stability.
Words by Tanya Chaturvedi.
Featured Image Portrait of Nusch Eluard wearing Schiaparelli by Pablo Picasso, 1937.
Image Courtesy Schiaparelli and Balmain.
