How Art Influences Fashion: The Religion of Balenciaga and Beyond

Above (L–R): Painting by Francisco de Zurbaran; Balenciaga evening gown; Christian Dior Spring 2014 Couture

When you look at pieces designed by the Spanish couturier Cristóbal Balenciaga in the 1960s, it’s clear to see the designer was directly influenced by clerical clothing. But you’ll also see that he was equally influenced by Spanish painters of the 17th century, whose subjects ranged from religious figures to royalty. One such painter, ‘Francisco de Zurbarán was one of the most productive…with a workshop that catered for clients right across Spain. His work was thus familiar to Spaniards from all walks of life, because it was mainly to be found in churches. St Casilda was particularly revered in the north of Spain. Many of Zurbarán’s female saints wear layers of heavy silks, swathes of fabric attached at the shoulder or waist. This device allowed the artist to mix complementary colours and also to show the reflection of light on the surface of shiny textiles. In this particular instance, he contrasted a mustard-yellow underskirt with a more acidic yellow drape and a turquoise overdress. Balenciaga also used these colours frequently, and played with drapery in a similar way.¹’ The yellow and light green silk taffeta evening dress (summer 1961) ‘recalls the bunching and puffing of the attire of Zurbarán’s female saints.¹’ This is a shape still being explored by designers today (see Dior spring 2014 couture images).

Above (left to right): Painting by Francisco de Zurbaran; Balenciaga evening gown; Balenciaga wedding dress

Above (left to right): 1–2 Balenciaga Spring 2015 Ready-to-Wear; 3 Balenciaga Fall 2013 Ad, Style.com

It’s also clear to see how Balenciaga was directly influenced by religion and clerical clothing. In Spain ‘immense Baroque churches dwarf the tiniest villages, and their interiors often contain elaborate chapels and overpowering altarpieces. Even when the interior is fairly austere, images or paintings of the saints and the Virgin Mary abound.¹’…‘A portrait of a Mercederian monk reveals how closely timeless monastic dress may be equated with the simple modernity of Balenciaga’s later designs.¹’…‘He pared away superfluous ornament and championed pure, simple, sculptural lines…¹’ This influence is clear, as seen in the black evening gown and cape (1967). And again in the wedding dress designed for María del Carmen Martínez-Bordiú, Francisco Franco's granddaughter and future Duchess of Cadiz (1972). Alexander Wang, Balenciaga’s current creative director references these same shapes in the spring 2015 ready-to-wear collection as well. Perhaps it’s not at all a coincidence that for Wang’s first advertising campaign for Balenciaga (fall 2013), religious undertones result from wanting to focus on the craft, detail and texture of the clothes, instead of the model’s face.

Above (left to right): Dolce & Gabbana; Balenciaga; Alexander McQueen, Style.com

On the opposite end of the spectrum, bolder and more ornate examples of religion in fashion can be seen in collections like that of Dolce and Gabbana’s fall 2013 ready-to-wear, or even (Nicolas Ghesquière’s collection for) Balenciaga’s spring 2012 ready-to-wear. Here, the influence can be seen in the graphic prints depicting stained glass designs. While Sarah Burton’s creations for Alexander McQueen’s fall 2013 ready-to-wear comment on the excesses of Catholicism. But religion’s influence on fashion has not only been restricted to the collections. Magazines have created countless images and editorial features with religious themes as well. No matter how subtle or heavy-handed, religion continues to inspire and influence fashion because of its social and cultural impact on our lives. It’s an unwavering and universal theme for us all.

Fashion editorials (left to right): Harper's Bazaar Russia; Numero Magazine; W Magazine 

1. Ellis Miller. L, Balenciaga (V&A Publications, 2007)

One of the key trends that emerged in Balenciaga’s spring 2015 ready-to-wear collection can be described as a sense of purity, calm and gentleness. Giving in to the Flow can be characterized as an antidote to the chaos that overwhelms us in our everyday lives. Our world is fraught with violence, instability in our economies and governments, and extreme and unpredictable weather. This key spring trend, visible across many of the season’s collections, is a soothing, uncomplicated, and pared-back approach; a reaction to the times we find ourselves in. It offers a zen philosophy, urging us to give in to the ebbs and flows of our realities.

Balenciaga Spring 2015 Ready-to-Wear, Style.com

As seen in looks 9 and 17 of Balenciaga’s collection, elongated tunics and flowy shirtdresses drape loosely around the body. Unrestrictive, they flow with ease and have a calming effect. The colors are a soft, dull white that remind you of raw, weathered cotton. Both shapes are relaxed. Moving beyond the collection, and expanding on the theme, we see similar underlying qualities in collections by Celine, Haider Ackermann, Hermès and Lanvin. Looks from these designers have used simple silhouettes with graceful long layers, sometimes belted for chic utilitarian appeal. Colors are classically neutral, while materials like ‘crosshatch linen and hopsack weaves speak of sobriety and rustic sensibility…light seersuckers, crisp poplins and sheer materials express pure minimalism.¹’

Above (left to right): 1 Celine; 2–3 Haider Ackermann | Spring 2015 Ready-to-Wear, Style.com

Above (left to right): 1–2 Hermes; 3 Isabel Marant | Spring 2015 Ready-to-Wear, Style.com

Above (left to right): 1–3 Lanvin | Spring 2015 Ready-to-Wear, Style.com

Above (left to right): 1 Christophe Lemaire; 2–3 Loewe | Spring 2015 Ready-to-Wear, Style.com

Above (left to right): 1 Lucas Nascimento; 2 Marni; 3 Sportmax | Spring 2015 Ready-to-Wear, Style.com

Above (left to right): 1 Rochas; 2 The Row; 3 Zero + Maria Cornejo | Spring 2015 Ready-to-Wear, Style.com

Advertising campaigns for Jil Sander, Gucci and Dolce & Gabbana from the 1990s

To understand why this trend may have emerged, we can look at two recent periods in the 20th century when dress had changed in reaction to the current political, economic, social and technical climates of the era. As a direct reaction to the turmoil of the late 1960s, the hippie subculture and fashions emerged in the United States. Later, during the recessionary years of the 1990s clothing became simplified as a ‘…reaction against the conspicuous consumption that had characterized the previous decade.²’ At that time ‘clothing design began to reflect a general interest in ecology and spirituality and many designers looked for inspiration to communities whose garments and bodily adornment were not shaped by international fashion trends. Authenticity became the new buzzword and subcultural style and ethnic clothing traditions entered fashion as major influences.²’ Now too, this spring 2015 trend features Japanese-influenced details seen across several collections, such as judo belts, oversized bow details and flowing kimono shapes. ‘Relaxed, wide-leg silhouettes create a nonchalant attitude.¹’ We are clearly looking east, and even to religious purity, for new inspiration.

However, unlike in the past, when silhouettes and major design trends were simplified and heavily influenced by access to materials — the reductive quality of the designs seen in the spring 2015 collections are not so much a reaction to material or physical factors. They are reflections, perhaps, of our mental psyche. Across the collections, the feeling is quiet and contemplative. Materials are free-flowing and loose. Forms are unencumbered and uncomplicated. All of these qualities serenely creating a space for us to escape to.

1. WGSN Catwalks Team, WGSN, http://www.wgsn.com/content/board_viewer/#/54840/page/19, 2014 (accessed January 2015)

2. Mendes. V & De La Haye. A, Fashion Since 1900 (Thames & Hudson Ltd, 1999)

September 24, 2014 | 8pm, Palais de Tokyo, Paris

Spring 2015 Ready-to-Wear, Style.com

Alexander Wang’s fourth ready-to-wear collection for the house of Balenciaga was confident and very much his own. You didn’t have to know he had been to Paris over the summer to see the Tour de France to know he was inspired by cycling and its athleticism. The first models wore tight shorts and body hugging tops with exaggerated crewnecks. They seemed to look like cycling jerseys and were made of a material that had a sporty sheen, reminiscent of Lycra. Large rubber track soles on satin, beaded evening flats gave an unexpected twist. While hair was sleek and severely parted down the middle. And though they were somewhat androgynous, models had sweet, childlike faces; perhaps to counteract the sharp cutting of the clothes. Cool, mirrored cycling-inspired glasses and bicycle chain bracelets finished off a few of the looks with edge.

Spring 2015 Ready-to-Wear, Style.com

While the clothes had a definite tone of modern sport it’s also clear there was still reverence to the brand’s original heritage. Through simple and sophisticated forms, Wang created understated elegance and drama. Black, ground-sweeping jackets and vests were futuristic  and striking with their trapeze shapes. Diamond panels cut through the clothes with quiet and minimalistic seams, criss-crossing the body. Black netting was layered over two-piece performance undergarments to great effect as well, adding a soft juxtaposition to some of the structured forms — a great example, perhaps, of Cristóbal Balenciaga’s use of unexpected pairings. Rounded shoulders on a grid and bead-embellished jacket referenced the ‘cocoon-curve’ coats and suits made famous by the house in the late 1940s and 1950s.

Spring 2015 Ready-to-Wear, Style.com

You could also see the common underlying theme of experimentation in surface textures in treatments like the caviar beading — used on trousers, trim on evening dresses and wrapped around the sides on some of the shoes. Embroidered diamonds hovering over the surface of netted skirts moved like feathers, and felt reminiscent of a gown from the summer 1951 collection (also, a pink gown made with taffeta and ostrich feathers, 1967) made with black organza ruffles.

It was an exciting collection that showed Wang’s creativity in combining his strength in street wear, and Cristóbal Balenciaga’s ethos for ‘contemporary experimentation in form and feeling’. It reflected a woman who is at once bold and singular in her choices, while being timeless and chic. The Balenciaga woman has remained the same — a minimalist who appreciates an attention to detail. And one who is drawn to the alluring push and pull of opposites.