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If he were a painter, Nicolas Ghesquiere would be Jackson Pollock: The revelation behind
his latest collection reminds me of the satori moment in 1947 when Pollock, after struggling for many years, in a flash discovered his drip method of painting, discovered his genius. Ghesquiere, likewise, had been working at Balenciaga for years in denial, almost in disdain, of its incredible archives. But now-eureka!-he has embraced the great house's history, with
brilliant results.
"I confess, I am just discovering the real meaning of Balenciaga," he told me, sitting next to a cozy fire in the Paris Ritz,
days after the fall show.
Once upon a time, Cristobal Balenciaga was the most important couturier in that rara avis world, and Ghesquiere is again scaling those perilous heights. Bill Cunningham of The New York Times went to many Balenciaga openings back in the day: "New York society women reinterpreted Balenciaga clothes back then," Cunningham says, "especially the day looks, and what they cared for was the fit. It was all about the fit."
Ghesquiere is all about the fit, too. He borrowed the round, roll-