“When I was younger I was looking a lot at the legacy and heritage of the house, but now I feel it’s all about the future,” Olivier Rousteing said, alluding to the many forms and shapes of liquefied iridescence that defined his show. “I’m really happy to do what I do. I went through so much criticism but right now I feel peaceful with who I am,” Rousteing said, echoing a statement often heard backstage at his Balmain. He framed it in some of his favourite 1980s silhouettes, scoring the affair with a camp soundtrack of 1980s evergreens such as “Heart of Glass”, “Take on Me”, and “Tainted Love”. But while Rousteing’s current sense of self-rest is lovely, this collection seemed way more forward-thinking than so.
The glass-like oily surfaces, rainbow tinsel, iridescent quilting, luscious lamés and dense sequin work were a refreshing departure from his typical tweeds and braiding. Not one that felt any less Balmain, however, especially when he filtered the multi-coloured palette of iridescence into loud solid Technicolor tones and unusual-looking xerox plisse prints towards the end of the collection. “What is my reality? A lot of people talk about my reality,” Rousteing reflected, possibly referring to his Instagram following. “You are so many different kinds of women. Balmain is inclusive. I feel like it was a strong show. Fierce and confident,” he concluded.