The haure couture collection presented at the Paris Fashion Week for this spring- summer by Ghesquière for Balenciaga fashion house was minimalistic with a hint of phantasy and pastel.
The apparels proposed by the reputed designer have a simple cut, are asymmetric and mostly based on the black and white contrast.
He maintained the free abdomen, installed in the last spring summer collections and the peplum, but he reinvented them.
Effective due to its minimalistic and oversized features, the short blouse presented in some of the outfits was used in combination with trousers and cloche skirts. The trousers were of masculine influence, large and straight. Thus, he managed to mix perfectly the men’s items with the feminine personality.
Overall, he used layers on top of layers, just like other giant fashion houses did in their presentations. Pastel apparels were, of course, included. Still, he focused on bleu pastel mixed with white. The metallic trend didn’t miss, also.
Regarding the models’ make-up it was made simple, sublte and refined. In addition, the bags were box shaped and the cleavage was heart shapped.
In an interview, he explained his reasons and inspirations. “I thought it was interesting to play with that contrast between Balenciaga’s cubism and architectural rigidity” he said, “and with mythology, antiquity, and movement.”
Another inspiration used was the ballet designs from the 1930s, was expressed in the flamenco ruffles that spiraled around a skirt, buoyed up by the stiff bonded fabric that seemed to capture the flounces in a frozen moment of dynamic animation (an idea that took seed in the strong Balenciaga resort collection).
As dresses, they added a flourish to tops that caressed the body like 1950s push-up bras—or like the dangerous bodice in Sargent’s portrait of Madame X—but as skirts, they were paired with rigid cropped tabards, as unyielding as the collar on a nun’s habit.
Those molded sweetheart-neckline bras in turn were used for a dash of sophisticated, sly sex appeal, à la Helmut Newton, worn with pantsuits of extreme sobriety that managed, in Ghesquière’s practiced hands, to be both classic and cool at the same time.
The shoes, which at first glance seemed to be sensible, mannish lace-ups, turned out to be raised on heels that were voided squared blocks of steel.
For Ghesquière, these were an evocation of a toga’s draperies (he was also thinking of Jean Cocteau’s 1960 movie Le Testament d’Orphée, for which Balenciaga designed some costumes).
There was a New Age classicism too to the golden metal bandeaux, worn horizontally on the back of the head, some of them sprouting a sapling’s branches and leaves like the Greek goddess Daphne being transformed into a laurel tree, an effect that Ghesquière called “invading nature.” (Appropriately enough, the show moved to the beat of the French group Lescop’s aptly named single “La Foret.”)
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The haure couture collection presented at the Paris Fashion Week for this spring- summer by Ghesquière for Balenciaga fashion house was minimalistic with a hint of phantasy and pastel. 
