Still, don’t call it a retrospective. “It’s more of a theatrical exhibition,” says Guillon, who has curated 30 or so looks from 1945 to today, in addition to 40 photographs, sketches, and ephemera that are organized into eighth tableaux. Featuring pieces, some never before exhibited, by Mr. Balmain, Erik Mortensen, Oscar de la Renta, Christophe Decarnin, and Rousteing, the show will consider a wide range of topics, from the founder’s background in architecture to the house’s legacy of embroidery and ornamentation, its signature use of gold accents, and its monogram (which was introduced in the ’60s and resurrected by Rousteing in 2020). Mr. Balmain’s early “New French Style” look, which featured strict tailoring, cinched waists, strong shoulders, and elaborate volumes is also featured.
Sounds familiar? While Dior is synonymous with the post-war “New Look,” Guillon makes the case that Balmain got there first. “Balmain was ahead of the New Look and this story of the renewal of the French couture after the war,” she says. Case in point, when Mr. Balmain came to New York for the very first time in 1946—if you were wondering why the exhibition opens stateside, here goes—he did so at the behest of cosmetics mogul Helena Rubinstein, who invited him to design a series of outfits for the launch of a new makeup line. Mr. Balmain created eight looks during that trip, five of which appeared in a feature in Vogue dated September 15, 1946 with the headline “New look from Paris.” The more you know!
