GARBLOG VOL. 2 - Two Decades Into The Past: Comparing Fashion Houses Now & Then

GARBLOG VOL. 1 - Two Decades Into The Past: Comparing Fashion Houses Now & Then

To change, yet stay the same: comparing Balenciaga Spring 2005 and Spring 2025

From the Spanish Civil War to Cardi B’s divorce, Balenciaga has always managed to be on the cutting edge of culture and global events. The Spanish-born and Paris-based house has never been one to shy away from change, whether it be ditching the Dior standard of slim women's wear, centering on neutral blacks and snow-shining whites, or even embracing an artistic 180 with their election of high fashion’s bad boy Demna Gvasalia to head creative designer in 2016. To look at Balenciag’s evolution in 20 years, one must understand the dichotomy between change and consistency that the house embodies. Runways, designers, and garments change as often as the seasons, but the creative soul of the house is as firm as the roots of a tree.

Spring 2025

Nicolas Ghesquière’s tenure at Balenciaga can be defined by incredible highs and shameful lows. On the one hand, he revitalized the near-dead label from being Macy's tier slop to fashion week royalty. On the other hand, when asked about his departure in a 2013 System Magazine article he said he “ was being sucked dry, like they wanted to steal my identity while trying to homogenize things”. This comment and others would lead to him being sued by the company that used to sign his checks. Bad blood aside, without Ghesquière’s work Fashion would be a very boring place. Balenciaga’s stardom is built on the foundations Ghesquière set during his tenure. Prior to Ghesquière’s tenure, the house had more turnovers than a bakery as designers came and left including the notable Hubert de Givenchy. Without Ghesquière the house may have followed in its couture lines' footsteps and shut down entirely. Spring/Summer 2005, first shown in Paris in October 2004 was a simplified and focused departure from his prior work which borrowed notes from the fine art world. Bright pinks and greens took a back seat to midnight blacks and gold. Boastful shoulders shrunk into sharp and powerful blades. A stand-out look from this collection consisted of black slacks with gold detailing resembling that of a navy officer’s hat topped with a blouse and blazer affixed with alternating snake patterns in silver and black. Ghesquière’s collection channels the volume and power that the label is known for in its detailing. Gold accents and mutated patterns keep the collection typically atypical. The collection yells at the viewer to grant it the attention it deserves from up close and silently demands respect from afar. Rows upon rows of shiny gold buttons on bright whites and midnight blacks conjure memories of Navy officers who work in Bushwick. Zig-zag patterns clash with patterns that I would best describe as “cracked leather” on silk dresses. Shoulders are either bare or reinforced with gold details, both pointing towards a fragrant sense of elegant professionalism. This collection shows silk dresses topping reinforced white slacks, patterned blouses under crisp blazers, and flowy dresses on top of high gladiator heels. In effect, Ghesquière showed the world a collection defined by militant elegance. It does not ask to be praised, it demands it, with a firm “ma'am” at the beginning and end of every sentence.

Spring 2025

Current-day Balenciaga is a very different affair than that of the Ghesquière days. The term “experiential” gets thrown around a lot in online fashion discourse when referencing collections that challenge what it means to be a “fashion house”. If there is one name that routinely challenges enthusiasts and casual consumers alike today it must be Demna Gvasalia. Fashion’s equivalent to Philip Zimbardo has earned his fame by shifting Balenciaga from a mid-tier producer at best during the tragically mediocre Alexander Wang days (side note fuck Alexander Wang, fuck his shitty handbags, fuck his family, he's a rapist, fuck the people that defend him, for every flop he shamefully debuts I pop a bottle of champagne until he finally closes his doors). Spring 2024 comes as one that continues to stick with house rules; large proportions, exaggerated silhouettes, multifunctional accessories, and more all make an appearance. Inspired by Shanghai's high rises and the city's iconic skyline, models strut confidently down a soaking wet runway dressed in hyper-elongated garments and platform boots made to add nearly a foot of height to the model. The hourglass figure makes numerous appearances through synched dresses with exaggerated shoulders as well as drapey trench coats with a slim belt line. Overcoats of all kinds make an appearance, but the model's arms are obscured with garments that match the elongated theme and drape well below the model's thighs. This collection’s most discussed pieces were the 10XL shoes, which look to be the size of at least four Air Force 1s put together, a leather bag in the shape of a cardboard Balenciaga shoe box, and the variety of garments made in collaboration with Under Armour. Personally, I see these pieces as one note and frankly boring given Demna’s tenure and past work. Large shoes were interesting six years ago. The sportswear collaboration with Adidas was tired out two years ago. After seeing what Jacquemes and Coperni have cooking next door, the shoe box bag frankly leaves a dusty taste in my mouth. It is through pieces like these that well-thought-out garments (like the baggy leather coat) get blown out of the water and overlooked. This collection most of all signified to me that Demna’s creative pool is beginning to evaporate at a rate that even certified glazers like myself can't ignore. This is not to say that Demna should cease his constant experimentation and envelope-pushing, instead quite the opposite. This collection has left me hoping that he can pull his house together and pivot his classic charm toward new ventures. Modern-day Balenciaga is a kitchen with all its burners on max. While they can and have cooked up some jaw-dropping pieces, they have unfortunately burnt some along the way; this collection is no different.

Final Thoughts

Both of these collections showcase work from two of modern fashion’s golden boys. While Ghesquière’s collection may seem rudimental in hindsight, it was as boundary-pushing as Demna’s twenty short years ago. Yet, both also showcase the danger of this creative edge, in Ghesquiere's case revealing abuse he suffered during his tenure and Demna with this collection being shown just one year after its “Gift Shop” campaign controversy which had many denouncing the fashion house under claims of child abuse. Where Balenciaga goes after this collection remains to be seen, lets all hope Demna goes the route of Ghesquière by continuing to evolve his craft season after season. The last thing I would want to see would be Demna losing his creative edge and ending up as creatively bankrupt as another Balenciaga veteran (fuck Alexander Wang).

By Alexis Rico

Blumarine: On Brand and On Trend

Bold patterns aren't for the weak, something that Blumarine has been showing off in their latest collections. The core brand of the Italian fashion house, Blufin S.p.A, has been referencing their past themes, mixing unconventional prints and looser styles. Yet, they still manage to capture the essence of the current mid ‘20s era of “clean maximalism,” with vibrant editorial looks and fun silhouettes.

Blumarine has always been known for their more hyper-feminine romantic style, incorporating see-through fabrics, lace, and botanical features. This hasn’t changed with their ‘24/‘25 collections, displaying floral prints and more flowy, gossamer fabrics:

Resort 24/25

SS 24/25

Fall 24/25

Past collections have exhibited the same, but staying true to their era. The ‘05 collections are a similar vein of mixing prints, but much more representative of the past trends. Those like staying true to seasonal colors and max accessorization:

SS ‘05

FW ‘05

The very identity of Bluemarine is the freedom to express. Their collections are claimed to be based on feelings and stories, bringing forth these more vivid styles. Blumarine describes their brand as “the bliss of being oneself,” a sentiment that is widely accepted now, but not as much back then at the peak of their maximalism and hyper-femininity.

As we emerge into this time of being completely free to express ourselves, exactly as we are without the fear of judgment, Bluemarine’s messaging is more applicable than ever. It’s the reason as to why I believe Blumarine has been so underrated and overlooked for so long, with people being turned off by the brand’s vulnerability in the past.

However, not to my surprise, people have been giving it more attention. With the resurgence of Y2K fashions, more eye’s have been drawn to Blumarine. Again, with its bolder, mis-matched prints and more feminine styles, the brand’s popularity seems to be increasing; especially with the younger generation that reminisces the glitter and vibrance of the 2000’s.

SS ‘22

I hope that more people will continue to keep their eye on Blumarine. Though it is known as a luxury brand, I think it belongs on the more mainstream side of fashion. With its ability to retain a unique identity and still adapt to the changing times, Blumarine deserves to be a more prominent brand in the field of fashion.

Resort 24/25

SS 24/25

FW 24/25

SS ‘05

FW ‘05

By Aarushi Khurana

Vivienne Westwood 20 Years ago Today: Fashion as a Form of Cultural Resistance

It's 2021—maybe you’re scrolling through TikTok, stalking the Instagrams of celebrities like Madison Beer, Dua Lipa, and Bella Hadid, or quarantined at home watching the popular anime series Nana; chances are you’ve seen what headlines coined “The Tiktok Pearl Necklace” adorned on the neck’s of your favorites. While distributed to the masses by fast-fashion dupes, the iconic pearl necklace originated as part of Westwood’s Autumn Winter 1990 collection, in a show that parodied styles worn by British elites.

Regardless of one’s influence, wearers of the pearl necklace are inadvertently flaunting a token of Westwood’s rebellion, which ironically advocates against fast fashion and overconsumption. Though lost in the mainstream iconography that characterizes the brand today, Westwood’s vision and contribution to the fashion community lie off the runway. About 20 years ago today, Westwood’s brand shifted focus to political and climate activism, using her collections as a contribution to a cultural narrative of resistance.

Since the rise of her career in the 70s punk movement, Westwood never failed to make a statement: selling fetish wear to prostitutes in her Chelsea boutique, parodying the upper class dressing as prime minister Margarat Thatcher for the cover of Tatler in 1989—captioned “This woman was once a punk”—and paying homage to historical tartan Scottish styles as an advocate for their independence in her 1993 Anglomania collection (You might have seen Naomi Cambell fall in her 12 inch heels!)

However, by the 2000s political activism was no longer the inspiration, but the point. These collections were reasonably criticized by some as being too on the nose with shirts reading “Climate Revolution” and “I’m not a terrorist please don’t arrest me.” Writers from Vogue also questioned whether her consumers would want to be “walking political statements.” Despite the criticism Westwood’s intention was meant to be obvious, stating “Climate change, not fashion, is my priority now.” Everything we wear makes a statement, and Westwood used her work to fight for what she viewed was right. Regarding “culture as the antidote to propaganda,” Westwood considered art as the gateway to changemaking declaring “The most important weapon we have is public opinion: go to art galleries, start to understand the world you live in. You're a freedom fighter as soon as you start doing that.”

At UC Berkeley, I see parallels to Westwood in our school’s history, characterized by freedom of speech protests and the hippie movement which popularized styles that rejected the status quo. At the same time I find myself at the antithesis of everything Westwood stood for. With five 8ams each week, I find myself slumming it to class dressed in what Westwood would describe as “ugly casualness” and fervently ordering from fast fashion sites like Princess Polly and Edikted for cheap and easy going-out and gameday fits. It is easy to walk past the protests and consume without thinking, worrying selfishly about our own lives and grades with a disregard to the world around us. In remembering her legacy after her passing in December 2022, I see Westwood as more than just a fashion icon or a string of pearls, but as an everyday inspiration.

By Hayden Seawright

Clock Strikes Dior: Christian Dior in the 21st Century

In the ever-changing landscape of fashion, few brands have managed to retain their prestige quite like Dior. Founded in 1946 by Christian Dior, the house has consistently evolved by staying true to its aesthetic. Christian Dior Couture, the House of Dior, has been universally recognized as one of the premiere luxury fashion brands of our time. So what gives Dior this timeless quality? A quick look at Dior in the 21st century will give insight into how Dior has maintained its place in the fashion sphere by appealing to its rich heritage whilst embracing modern ideology and the digital age.

Dior's enduring appeal is evidence of the depth of its history. The early decades of the brand were defined by the revolutionary “New Look,” which celebrated ultra-femininity and opulence. Offering a new shape and repudiation of styles popular in the 1920s and 30s. In the 21st century, Dior has dutifully honored this legacy while inviting innovation. Each creative director, from John Galliano to Maria Grazia Chiuri, has found revolutionary ways to reinterpret Dior's aesthetic. Galliano perfected this re-articulation of opulence at the highest level with Haute Couture. The term "Haute Couture" comes directly from the French translation "high dressmaking", thus, referring to the art of hand-making an entire piece/ collection/ garment from start to finish. Galliano reinvented Dior by introducing monumentally theatrical and eccentric interpretations of the contemporary styles of the time. Such genius styling and design (like in the look to the right, Fall 1997) are clear references to the revolutionary styles pioneered by Dior in the 1930s. Chiuri, contrastingly, has woven elements of modern feminism into her collections, hoping to provide evidence to us that Dior’s elegance is timeless but can evolve to reflect the ever-evolving social landscape. This duality is however, fairly contensions, while some may yearn for the classic Dior aesthetic, others, many of the more recent generations, have a greater appreciation for the brand's evolution to reflect current culture.

As the emerging fashion world has embraced digital transformation, Dior has been one brand of many that has leveraged social media to engage the new generation. The rise of social media has allowed the brand to connect with a global audience in newer and faster ways. Dior has used platforms like Instagram and TikTok to showcase its collections, conforming like many brands to the ability to increase brand visibility and relevance in the public consciousness like never before. However, this reliance on social media comes with its faux pas. With the rise and turnover of newer, more niche, influencers along with the long-drawn fight against fast fashion, it seems that the ability to maintain exclusivity becomes increasingly difficult. Dior, like many well-established houses rushing to catch the social media train, is drawing a fine line between accessibility and preserving a luxury image. But what is to be said about this shift concerning the brands that have done it gracefully? I ask you now, is that Dior?

Dior’s engagement with cultural and social issues has become a significant part of its identity. Under Chiuri’s direction, the brand has embraced themes of empowerment and diversity, creating collections that reflect contemporary values and modern feminist critique. Evidence of this was seen at Paris Fashion Week in the spring of 2018 when Sasha Pivovarova was the first to walk down the catwalk wearing a striped long-sleeve shirt that read “Why Have There Been No Great Women Artists?” Chiuri references art historian Linda Nochlin's landmark essay which addresses the institutional frameworks which stifle the achievement of female artists. Maria Grazia Chiuri is also more popularly known for the success of her "We Should All be Feminists" T-shirt which reigned omnipresent in public consciousness for many a month. It's easy to ask where the line between genuine activism and commercialism will blur, however. Are Chuiri and Dior truly invested in these causes, or are popular taglines easy to leverage for Instagram stories? It's a question that invites genuine debate, though, no good brand is without controversy.

Dior's ability to sustain its image in the 21st century is a fascinating study in balance. Most notably the brand’s embrace of digital engagement and modern feminism showcases its agility. As Dior continues to evolve it remains a captivating study in what it means to navigate and maintain a brand through time, while still preserving an aesthetic. By balancing tradition with modernity and addressing the critiques that come with its choices, Dior proves that luxury fashion can be both timeless and relevant. But anyway, who cares what I think! Here's some good-ass Dior:

Natalie Portman, Met Gala '23

2000, John Galliano

Fall 2000, John Galliano, PFW

Haute Couture F/Win 2000

Fall 2004

Zendaya & Law Roach, Met Gala (½)

Yara Shikidi, Met Gala '21

By Callie Mae