Azzedine Alaïa, Cristóbal Balenciaga. Sculptors of shape
The Museo del Tessuto Foundation concludes its 50th anniversary exhibition calendar with a major exhibition dedicated to two absolute icons of French fashion: Azzedine Alaïa e Cristóbal Balenciaga.
Twenty-five creations by Azzedine Alaïa – considered one of the last couturiers, capable of mastering every stage in a garment’s creation, from design to tailoring – dialogue with as many garments by Cristóbal Balenciaga, in a timeless comparison.
Alongside the garments, the Textile Museum is exhibiting 12 original drawings by Balenciaga dated between 1950 and 1968 from Balenciaga Archives in Paris, shown in Italy for the very first time. The drawings, some of which include technical notes for tailoring and fabric samples, are accompanied by an equal number of original photos of the garments being worn, valuable and extraordinary records of the Spanish designer’s creative process.
Alaïa and Balenciaga share strong common threads: their couture (high fashion) work, their attention to sartorial perfection, and their emphasis on the feminine form. Both share humble origins—Iberian for Balenciaga and Tunisian for Alaïa—, a family apprenticeship in the art of sewing, and then success—achieved thanks to an influential clientele in Paris.
Fabric is their shared creative material, but while Balenciaga shapes his designs with wool, satin, and silk, such as the innovative "gazar" he invented in 1958, Alaïa transforms knitted fabric until it becomes a hallmark of his art, using leather to sculpt and shape the body. Balenciaga preferred to close the atelier rather than convert to ready-to-wear, and Alaïa put an end to the incessant chasing of collections, independently choosing the most appropriate moments to present his work.
Both couturiers were passionate about sartorial construction and known for their perfectionism and ability to cut and sew with their own hands. Balenciaga’s research resulted in perfect formal elegance, while Alaïa’s highlighted precise sensuality. Balenciaga was a great innovator of forms and creator of wearable architecture, while Alaia wrapped and sculpted the body as if it were a second skin.
The exhibition is completed by a film on the life and work of Azzedine Alaïa made by Joe McKenna, fashion editor and stylist, and a never-before-seen video featuring the presentations of Balenciaga’s Haute Couture Summer 1960 and 1968 collections from Balenciaga Archives in Paris.
Twenty-five creations by Azzedine Alaïa – considered one of the last couturiers, capable of mastering every stage in a garment’s creation, from design to tailoring – dialogue with as many garments by Cristóbal Balenciaga, in a timeless comparison.
Alongside the garments, the Textile Museum is exhibiting 12 original drawings by Balenciaga dated between 1950 and 1968 from Balenciaga Archives in Paris, shown in Italy for the very first time. The drawings, some of which include technical notes for tailoring and fabric samples, are accompanied by an equal number of original photos of the garments being worn, valuable and extraordinary records of the Spanish designer’s creative process.
Alaïa and Balenciaga share strong common threads: their couture (high fashion) work, their attention to sartorial perfection, and their emphasis on the feminine form. Both share humble origins—Iberian for Balenciaga and Tunisian for Alaïa—, a family apprenticeship in the art of sewing, and then success—achieved thanks to an influential clientele in Paris.
Fabric is their shared creative material, but while Balenciaga shapes his designs with wool, satin, and silk, such as the innovative "gazar" he invented in 1958, Alaïa transforms knitted fabric until it becomes a hallmark of his art, using leather to sculpt and shape the body. Balenciaga preferred to close the atelier rather than convert to ready-to-wear, and Alaïa put an end to the incessant chasing of collections, independently choosing the most appropriate moments to present his work.
Both couturiers were passionate about sartorial construction and known for their perfectionism and ability to cut and sew with their own hands. Balenciaga’s research resulted in perfect formal elegance, while Alaïa’s highlighted precise sensuality. Balenciaga was a great innovator of forms and creator of wearable architecture, while Alaia wrapped and sculpted the body as if it were a second skin.
The exhibition is completed by a film on the life and work of Azzedine Alaïa made by Joe McKenna, fashion editor and stylist, and a never-before-seen video featuring the presentations of Balenciaga’s Haute Couture Summer 1960 and 1968 collections from Balenciaga Archives in Paris.
Hinweise für den Zutritt:
Am ersten Weihnachtstag geschlossen.
An anderen Feiertagen sind verlängerte Öffnungszeiten möglich. Bitte konsultieren Sie die Website des Museums.
An anderen Feiertagen sind verlängerte Öffnungszeiten möglich. Bitte konsultieren Sie die Website des Museums.
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