Balmain A/W 2014
Balmain A/W 2014
Olivier Rousteing's hip-hop soundtrack set the scene for A/W, as Jourdan Dunn strode onto his Perspex runway in a leather utility biker jacket and silk cargo pants, as the lyrics went on to decree, 'she wants it... so I gotta get it to her'. This exuberance for a patch pocket was first seen in New York at Alexander Wang, although this outing was set to be a far sexier R&B groove. Leather cargo versions soon marched by, despite the fact that the Balmain woman is not really the type to need to carry anything more than her attitude. The tribal beat built with coiled neckpieces, weighty gold bamboo hoop earrings, and the house's strong-shouldered jackets, cinched with a pleated peplum and teamed back with studded Roman gladiator skirts, as the military influence strode along, climaxing with a one-shouldered officer's uniform that was strictly for after-dark territory. Far from being a democratising leveller, Rousteing's uniforms were awarded a decorated status, and came dripping with the tight-laced manipulations we've come to expect from the 28-year-old's meticulously worked ready-to-wear. His warrior muse was loud and proud, inspired by Peter Beard's safari photography, and women of his generation. Rousteing's rope braiding leapt off a General's epaulette to form heavy, body-con numbers that even gave Rosie Huntington-Whiteley a little extra bootie. In essence the Balmain woman's got game, and even more than usual, thanks to a selection of re-worked African pelts from leopard to zebra, paired-back with his global nomad's laced-up tortoiseshell heels.
Photography: Jason Lloyd-Evans
Olivier Rousteing's hip-hop soundtrack set the scene for A/W, as Jourdan Dunn strode onto his Perspex runway in a leather utility biker jacket and silk cargo pants, as the lyrics went on to decree, 'she wants it... so I gotta get it to her'. This exuberance for a patch pocket was first seen in New York at Alexander Wang, although this outing was set to be a far sexier R&B groove. Leather cargo versions soon marched by, despite the fact that the Balmain woman is not really the type to need to carry anything more than her attitude. The tribal beat built with coiled neckpieces, weighty gold bamboo hoop earrings, and the house's strong-shouldered jackets, cinched with a pleated peplum and teamed back with studded Roman gladiator skirts, as the military influence strode along, climaxing with a one-shouldered officer's uniform that was strictly for after-dark territory. Far from being a democratising leveller, Rousteing's uniforms were awarded a decorated status, and came dripping with the tight-laced manipulations we've come to expect from the 28-year-old's meticulously worked ready-to-wear. His warrior muse was loud and proud, inspired by Peter Beard's safari photography, and women of his generation. Rousteing's rope braiding leapt off a General's epaulette to form heavy, body-con numbers that even gave Rosie Huntington-Whiteley a little extra bootie. In essence the Balmain woman's got game, and even more than usual, thanks to a selection of re-worked African pelts from leopard to zebra, paired-back with his global nomad's laced-up tortoiseshell heels.
Photography: Jason Lloyd-Evans
Olivier Rousteing's hip-hop soundtrack set the scene for A/W, as Jourdan Dunn strode onto his Perspex runway in a leather utility biker jacket and silk cargo pants, as the lyrics went on to decree, 'she wants it... so I gotta get it to her'. This exuberance for a patch pocket was first seen in New York at Alexander Wang, although this outing was set to be a far sexier R&B groove. Leather cargo versions soon marched by, despite the fact that the Balmain woman is not really the type to need to carry anything more than her attitude. The tribal beat built with coiled neckpieces, weighty gold bamboo hoop earrings, and the house's strong-shouldered jackets, cinched with a pleated peplum and teamed back with studded Roman gladiator skirts, as the military influence strode along, climaxing with a one-shouldered officer's uniform that was strictly for after-dark territory. Far from being a democratising leveller, Rousteing's uniforms were awarded a decorated status, and came dripping with the tight-laced manipulations we've come to expect from the 28-year-old's meticulously worked ready-to-wear. His warrior muse was loud and proud, inspired by Peter Beard's safari photography, and women of his generation. Rousteing's rope braiding leapt off a General's epaulette to form heavy, body-con numbers that even gave Rosie Huntington-Whiteley a little extra bootie. In essence the Balmain woman's got game, and even more than usual, thanks to a selection of re-worked African pelts from leopard to zebra, paired-back with his global nomad's laced-up tortoiseshell heels.
Photography: Jason Lloyd-Evans
Olivier Rousteing's hip-hop soundtrack set the scene for A/W, as Jourdan Dunn strode onto his Perspex runway in a leather utility biker jacket and silk cargo pants, as the lyrics went on to decree, 'she wants it... so I gotta get it to her'. This exuberance for a patch pocket was first seen in New York at Alexander Wang, although this outing was set to be a far sexier R&B groove. Leather cargo versions soon marched by, despite the fact that the Balmain woman is not really the type to need to carry anything more than her attitude. The tribal beat built with coiled neckpieces, weighty gold bamboo hoop earrings, and the house's strong-shouldered jackets, cinched with a pleated peplum and teamed back with studded Roman gladiator skirts, as the military influence strode along, climaxing with a one-shouldered officer's uniform that was strictly for after-dark territory. Far from being a democratising leveller, Rousteing's uniforms were awarded a decorated status, and came dripping with the tight-laced manipulations we've come to expect from the 28-year-old's meticulously worked ready-to-wear. His warrior muse was loud and proud, inspired by Peter Beard's safari photography, and women of his generation. Rousteing's rope braiding leapt off a General's epaulette to form heavy, body-con numbers that even gave Rosie Huntington-Whiteley a little extra bootie. In essence the Balmain woman's got game, and even more than usual, thanks to a selection of re-worked African pelts from leopard to zebra, paired-back with his global nomad's laced-up tortoiseshell heels.
Photography: Jason Lloyd-Evans
Olivier Rousteing's hip-hop soundtrack set the scene for A/W, as Jourdan Dunn strode onto his Perspex runway in a leather utility biker jacket and silk cargo pants, as the lyrics went on to decree, 'she wants it... so I gotta get it to her'. This exuberance for a patch pocket was first seen in New York at Alexander Wang, although this outing was set to be a far sexier R&B groove. Leather cargo versions soon marched by, despite the fact that the Balmain woman is not really the type to need to carry anything more than her attitude. The tribal beat built with coiled neckpieces, weighty gold bamboo hoop earrings, and the house's strong-shouldered jackets, cinched with a pleated peplum and teamed back with studded Roman gladiator skirts, as the military influence strode along, climaxing with a one-shouldered officer's uniform that was strictly for after-dark territory. Far from being a democratising leveller, Rousteing's uniforms were awarded a decorated status, and came dripping with the tight-laced manipulations we've come to expect from the 28-year-old's meticulously worked ready-to-wear. His warrior muse was loud and proud, inspired by Peter Beard's safari photography, and women of his generation. Rousteing's rope braiding leapt off a General's epaulette to form heavy, body-con numbers that even gave Rosie Huntington-Whiteley a little extra bootie. In essence the Balmain woman's got game, and even more than usual, thanks to a selection of re-worked African pelts from leopard to zebra, paired-back with his global nomad's laced-up tortoiseshell heels.
Photography: Jason Lloyd-Evans