FW17 Ski Swing Hooded Shell Parka (Black)

Balenciaga by Demna Gvasalia FW17 Ski/Swing Parka in Black. Demna Gvasalia took the throne at Balenciaga more than year ago which rippled waves of controversy with Balenciaga loyalists and “fashion goers” — it was no longer familiar. The original rendition of this jacket for FW16 is a key piece, impossible to disregard on the catwalk, it was this huge. ski. jacket. but so overwhelmingly normal. And more followed; Big silhouette puffer jackets, San Franciscan Patagonia dad wear, wide slacks, Ikea bags, Parisian street wear chic, dirty 90’s power ranger sneakers, padded 80’s power shoulders, paneled multi-fabric trousers and so much in between.

March 25th 1982, Rei Kawakubo took the stage in Paris by severing fashion in half.  The third Comme Des Garcons collection was featured north of Champs-Élysées in a park, “Pavillion Gabriel” at a corner. It was held in a room without logos or branding, all white to the viewer’s visual horizon, seats were filled instantly as critics anticipated what Rei had to show next. Out came the inside out military jacket with asymmetrical collar, the shirts with unfinished hems sported with kimono sleeves, what many called “swiss cheese” wool sweaters, crinkled Mimore length skirts — all iconic and familiar Comme Des Garcons pieces. Rei’s cameras weren’t targeted at recording her collection, but instead the audience as they sat discombobulated, haughty and confused. “Trash on the runway and its from Japan!”, “Apparel for going to the welfare office or asking for wages increases”, “Its hiroshima-esque”, “meant for patrons of mental institutes”  were solid criticisms that reflected a notable margin of the Paris fashion critic’s consensus. Le Figaro was written by the harshest critics which skewered Rei, with even racist connotation, and used an incident of miscommunication as a rallying call for a breeding ground aimed at CDG hate.

Late 1940’s Europe, Cristóbal Balenciaga was undoubtedly the best dressmaker of the time. Influential by those of even Dior himself, calling Balenciaga “The master of us all”. Balenciaga was a modernist and like many modernists, believe the current state of affairs need renovation. Cristóbal Balenciaga, like Demna Gvasalia worked from the “street up”. Vinyl coats, fitted Parisian peacoats, and bicycle skirts were the foundation of Balenciaga and heavily influenced from elements straight from Paris streets. Both, Balenciaga and Gvasalia were shakers in the industry and worked with heavy undertakings of the silhouette. Demna’s more recent collections featured nostalgic padded elements that take heavy motifs from older Balenciaga collections. Apart from Cristóbal, Demna can arguably be “anti-fashion” or philosophically fall in line similar to the “Fluxus” anti-art art movement of the 60s and its ethos.

The cycle of time proves again, with Cristóbal Balenciaga, Rei Kawakubo, even Maison Margiela and Hussein Chalayan, that history rhymes and doesn’t repeat — That familiar, preconceived notions of what fashion is or really any expressive medium is gets torn down and reestablished by someone who is tired of it. Balenciaga is closer to its roots with Demna than Alexander Wang can ever make it be.

Lampo zippers, massive upper body that is meant to be worn “bloomed”, bondage strap that allows the backside of the jacket to bell out when worn around the neck or waist, multiple pockets, hood stow away compartment. Embroidered branding on back. Metal adjusting ribbons. Extremely wide and oversized. This is the newer black rendition and made in Italy instead of France. Original FW16 parkas were featured in other colours.

9/10 condition. Size 34 fits oversized, best fit for an oversized XS-M but can serve a large if needed.

Model pics are from the official Balenciaga site.