“Putting luxury fashion into the box of polished, exclusive, and visually expensive is limited and pretty old school” – Demna
Which is a fitting metaphor for the influence of Demna. Nostalgie de la boue links with his own tastes and philosophies, combining elements drawn from the streets with notions of couture, which have had a profound impact on fashion over the past decade – his shapes, his decorative motifs, his obsessions, are all part of the common fashion language now.
The idea, on paper, doesn’t sound so new, but when fashion fishes out of the gutter it's usually a rarefied bunch of references it evokes, sanitised and often historicised - the punks of the 1970s, grunge of the 1990s, an acceptable bunch of fashionable ‘streets’ that we’re all familiar with, and therefore don’t find so shocking. Demna’s streets are brutal, harsh, and utterly contemporaneous – there’s a sharpness, a nastiness to the low culture he combines with Balenciaga’s snobbish repute.
, the truth he chose to show was brutal and hard to swallow – many questioned if it should even be shown in a fashion context, which is the sign of great fashion, I suspect. And its impact continues to resonate.This time, Demna’s commentary was about individualism. That’s why his show didn’t contain identikit recreations of subcultural figures, but was seemingly peopled with reality.
Of course, asking those questions within the framework of a couture house is sometimes perceived as heretical. So is the idea of an expensive beaded gown trailing in the muck, which Demna also proposed – a form of destruction allied with his shredded sneakers, and beaten-up jeans, and fucked-up jackets. They represent the wear of the world, sure, but also what the world wears.
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