Foreword

This paper will be exploring the Fall Winter 2020 Balenciaga collection. It is highly advised to watch the runway presentation in its entirety before proceeding to the substance of the paper. Moreover, it is suggested to reference Vogue Runway for the respective look-by-look analysis. 

Note that this paper does not focus on the broader context of fashion in exacerbating the climate crisis. Rather, this paper analyzes Demna Gvasalia’s commentary on climate change as well as the technical considerations in the Fall Winter 2020 Balenciaga collection (FW20). Providing, a substantive analysis as well as a meta-referential critique of climate change commentary will be the objective of this paper. 

Introduction

Balenciaga, especially in recent times, has been a controversial fashion house, with critics and supporters alike dissecting the intricacies of Denma’s social commentary. Fall Winter 2020, was no different, evoking intense responses of repugnant criticisms and passionate acclaim. With sleek, overexaggerated, black garments exploring key themes of the climate crisis, religion, and secularism. 

Fashion as an industry is a titan of pollution. In 2022 the fashion industry including textile production and retail sectors, is the 6th biggest polluting industry. For instance, textile manufacturing, or more specifically the tanning and dying processes contributes to almost 20% of all industrial wastewater pollution. Formeldayde, heavy metals, azo dyes, and organotin compounds are all discharged with industrial wastewater in mashes, oceans, and rivers. Such bodies of water affect human health in two distinct ways. First, is direct consumption. Oftentimes the same bodies of water in which industrial water waste is discharged are used as the main source of drinking, cleaning, and cooking water. Consuming the water or consistently being exposed to the water (through cleaning or bathing) can cause birth defects, cancerous tumors, chronic sickness, and skin conditions. Moreover, a process called bioaccumulation concentrates the heavy metals and chemicals up trophic levels to ultimately accumulate in humans. For instance, Dioxins, a persistent organic compound, are released into a river through a discharge of tanning wastewater. The dioxins as fat-soluble compounds are absorbed into a population of fish, then another predator that consistently feeds on fish consumes the dioxins, and when the food web reaches humans, humans consume all of the dioxins in the previous trophic levels. Dioxins themselves cause cancer, respiratory complications, hormone imbalances, and developmental issues. 

Setting

From the beginning, the venue, in which the collection was being presented, provided an immersive indication of what was to come. Partially flooded with water, getting to the seats particularly, in the front row, was a displeasurable endeavor. It must be noted that the rows closest to the runway are reserved for the most loyal clientele, biggest retailers, and most relevant celebrities. These individuals are seated closest to the runway as a shrewd marketing decision and frivolous status symbol. Luxury fashion houses seek to pamper and pander to the guests crowned with the distinction of being seated in the first two rows. However, Demna had no regard for such conventions. Flooding the first two rows to emulate the rising sea levels he forced an unembellished illumination of the climate crisis onto the most cosseted figures in fashion. 

The ceiling illuminated with a range of scenes was another uncomfortable motif pointing to the theme of climate change. Initially, the presentation started with a projection of gloomy clouds, not completely unordinary but also not particularly helpful in quelling the discomforts of the atmosphere. As the show progressed the “sky” reflected a scene akin to a fiery hellscape with deep hues of red, orange, and black starting to permeate into the clouds. Then, a mask of purple to blue enveloped the screen with the silhouette of a flock of birds. The most troubling and obvious depiction of climate change came in the form of ocean waves that morphed into what resembled a devilish solar eclipse. Finally, a compilation of industrial images such as major highway infrastructure and static television pictures flashed through the screen.

All of these scenes projected onto the ceiling screen developed an intense but subversive feeling of disruption, angst, and qualm. Demna reintroduces such misgivings into the minds of the audience to combat their aloof complacency. The general atmosphere hitherto is an abrasive reminder to the benefactors of the wasteful and polluting industrial society, that climate change is very much so a product of their opulence. Denma doesn’t allow them to be detached from their ecological footprint; he floods the floor so that the audience cannot avoid their contributions to climate change. Using specifically water to do so is especially effective as it is a pervasive and unavoidable reminder of the rising sea levels caused by polluting grandeur of the audiences’ lifestyles. The audience can no longer hide behind their phones and sit in their penthouses to escape their contributions to ecological degradation; they are in the fire, they are in the flood, they are in the darkness. 

Themes 

Religion 

Religious motifs are peppered throughout the collection from the long black cloaks to allusions to the devil. Look 1, shows a loose dress reminiscent of that of traditional garbs worn by Catholic nuns. The religious principle of modesty is challenged by Demna almost immediately. The garment hides the body by implementing unique pleating and utilizing an almost pitch-black velvet textile. The dress is constructed in a way where pleats that extend down the lower half of the body from the waist conceal the model’s hips while utilizing side panels to further enlarge the bust, cloaking the entire model’s natural figure. Moreover, the use of a pitch-black velvet creates an illusion of dimension on the pleats while blacking out the chest. Similar to how vantablack, the world’s darkest black, kills dimension by only refracting 0.04% of light, the velvet has a similar effect that makes the looser swaths of fabric appear one-dimensional. The use of this velvet can make for an awkward and almost indistinguishable silhouette akin to those in cartoon shoes however, the velvet masterfully reveals dimension on the pleats adding natural motion and draping to the garment.

The intricate use of both textile and pleating reveals the underlying tones of religious piety in the broader context of existential climate change threats. Demna draws parallels from the garment’s ability to hide one’s body to how religion is similarly used as a veil of assurance, hiding from the anxieties of 21st century issues such as climate change. Religion as a reactionary response to the climate crisis serves to console those confronted with the prospects of imminent extinction by offering a refuge in the spiritual dimension. Religion offers people the ability to hide in constructs of piety just as the garment in Look 1 allows the wearer to hide away in a veil of intricate misdirections. 

However, Demna injects more cynical undertones of distortions into religion, revealing the depravity of the spiritual fiber. Look 10, reimagines the catholic monk’s garb by incorporating traditional elements such as an oversized drapey silhouette, elongated sleeves, and relaxed shoulders to more modern additions of a structured collar and water-resistant textile to culminate in a sleek but tame coat. 

The coat seems like merely a moderately inventive reinterpretation, however, devilish red contact lenses add a layer of nefarious perversion. Demna points out the obvious contradictions within religious dogma, “Religious dress codes are all about hiding the body, about being ashamed—body and sex is the taboo. Whereas when you look into it, some of these people are the nastiest perverts.” Religion as an institution is foundationally built on power dynamics. The dynamic between Jesus and Mary, the dynamic between God and the devil, and the dynamic between sin and holiness are some integral examples. The power dynamics within theology also extend out into the actors of religious institutions namely priests, deacons, pastors, elders, etc. Demna is moreso concerned with the latter power dynamic; the dynamic that is vulnerable to human corruption as expressed through the devilish contact lenses. As religion increasingly becomes an asylum the red eyes, an obvious cultural motif of evil and danger, have penetrated into the holiest sects of society. Priests have now become demons.

Climate change in this way exacerbates the existing power dynamics within religion; it feeds those seeking relief, those seeking shelter, into a vicious construct of false virtue. A sociopolitical equivalent of spiritual climate-induced oppression can be found within environmental racism. Environmental racism is a form of institutional discrimination that enables certain socioeconomic groups to be disproportionately affected by negative ecological hazards. The Flint Michigan water crisis is a prime example. In 2011 the predominantly black community of Flint changed municipal water sources from the clean Detriot-supplied Lake Huron water to that of the local Flint River in an effort to cut costs. The result was an entire community left without clean water and a government too negligent to effectuate any change. Nearly 9000 children were exposed to toxic levels of lead water for 18 months with 12 people killed from the contamination and 87 people left sick. Only through a lawsuit were the residents of Flint able to obtain a regular door-to-door supply of bottled water, and proper healthcare to mitigate negative health impacts, as well as the replacement and maintenance of pipes. As climate change exacerbates the ecological impacts particularly in historically oppressed communities the systems within the climate change context, in Demna’s commentary: religion, and in reality: the government, continue their predatory practices. 

Secularism 

Demna also introduces a foil: secularism as a response to the climate crisis. Within secularism is a distinct corporate embodiment in Look 87. The classic pinstripe double-breasted suit is reimagined with padded power shoulders, a restrictive collar, and oversized sunglasses to produce the 21st-century archetype of the career woman. The suit itself has extraordinarily padded almost sharp power shoulders that contrast typically feminine exposed shoulders that follow the natural lines of the body. This projection of power is quintessential in insulating the secular person from the qualms of the world, including climate change, and absorbing them into the rat race. In this facade of consolation, she wears her comically big sunglasses to shield out the plights of the world as she marches on to her next promotion.  The career woman confides not in religion but within her work to prove her self-worth in the metric of title and salary. However, it’s restrictive, as the suit's collar carefully wraps around her neck to suffocate her within the metaphysical barriers of her own coping. This reassurance is a reaction to climate change and accordingly the sociopolitical disturbances within the social fabric. Money solves all the career woman tells herself.

Further exploring the theme of secular protectionism, is Look 48, a full set of sleek motorcycle wear. From heavily reinforced plastic pads on the shoulders, knees, and boots to the heavy leather paneling on the elbows and thighs the look masterfully captures the essence of motorcycle wear: protection. Demna extends the commentary, by specifically focusing on the dangerous activity of motorcycling. The other face of secularism as a response to climate change is a bold almost reckless adrenaline-filled life. This cynical reaction embraces a radically different consolation, indulging in dangerous high dopamine activities as opposed to the reassurances of a rigid corporate ladder. The themes of protectionism are not only protection from the physical dangers of the road but also transcends to the metaphysical threats of anxiety, angst, and extinction rooted in climate change. 

Metaanalysis

Balenciaga Fall Winter 20 is a woefully contradictory commentary of the fashion zeitgeist in the climate change crisis. Such a claim begs the question: What moral conditions must be met to sincerely convey an artistic commentary on climate change? First and foremost, the answer is certainly not the moral position of balenciaga. Although supporters may take this collection as a powerful messaging tool that educates the most wasteful and polluting echelon of society through immersion, Balenciaga is simply in no position to promulgate such a message. Balenciaga as a multimillion-dollar fashion house that produces 100+ look collections 3+ times a year is perhaps the greatest offender of the same climate change commentary they spew. Perhaps one can scapegoat the nature of commercializing fashion, but to actively contribute in the very processes the collection disavow is the biggest contradiction. 

Irony is also an important consideration within Demna’s messaging. Key to his design ethos, oversized proportions, heavy distressing, as well as gaunt prosthetics, and an almost trudging walk all reek of Demna’s signature irony. More broadly, art has started to introduce more ironic aesthetic and storytelling elements within the postmodern era, oftentimes making critical commentaries on the structures of the world order (the state, capitalism, racism, etc). Ironic storytelling can undoubtedly be an incredibly powerful medium to communicate insightful critiques but Balenciaga’s Fall Winter 2020 collection is not such an example. Instead, the irony of the collection is arguably too tongue-in-cheek and rather gets misinterpreted as an immature disdainful whine. Balenciaga is too ripe in its consumerist high to tastefully make a critique on the upper echelons of society (to which it caters too). Demna would have perhaps faired better incorporating sincere design choices to align itself with the contextual commentary of the collection. 

Conclusion

Balenciaga Fall Winter 2020, best exemplified by sleek cuts, oversized silhouettes, and bold and black colors is surely an aesthetically brilliant collection. Demna’s signature design language shines through the collection to beautifully communicate a cohesive commentary on the climate crisis. 

Citations

Beth HowellOct 17, 2022. “The 7 Biggest Polluters by Industry in 2022, as Ranked in New Research.” Environmental Protection, eponline.com/articles/2022/10/14/the-7-biggest-polluters.aspx. Accessed 22 May 2023.

Denchak, Melissa. “Flint Water Crisis: Everything You Need to Know.” Be a Force for the Future, 8 Nov. 2018, www.nrdc.org/stories/flint-water-crisis-everything-you-need-know#summary.

“The Environmental Racism Flowing in Flint.” Open Society Foundations, www.opensocietyfoundations.org/voices/environmental-racism-flowing-flint. Accessed 22 May 2023.

Mower, Sarah. “Balenciaga Fall 2020 Ready-to-Wear Collection.” Vogue, 1 Mar. 2020, www.vogue.com/fashion-shows/fall-2020-ready-to-wear/balenciaga.