Pierpaolo Piccioli’s intent after he unveiled his first collection for Balenciaga was quite clear, but with its latest campaign, lensed by David Sims, this concept becomes even more evident: the Balenciaga we used to know no longer exists, or better, it still does but in a more delicate, soft, and elegant way.
There’s no artifice here, the shots strike us with their simplicity. David Sims portrays Mona Tougaard and Sandra Murray on an unmade bed, the pillows and sheets creating an intimate, private atmosphere. On the candid, crisp white linens, the Rodeo and Le City bags stand out, seemingly out of place, yet blending perfectly. The models lie on the bed that seems to swallow them, carefree and happy, a perfect depiction of how you go to bed knowing you own those staple pieces.
“For my first campaign for the House, I wanted to create something that felt truly personal and could tell a story of effortless beauty and delicate humanity. Working with my dear friend and artist, David Sims, made it even more special. Together, we captured Mona and Sandra as they are — spontaneous, real, soft, yet strong — a reflection of the new Balenciaga woman and the beginning of a chapter that feels deeply meaningful to me,” said Pierpaolo Piccioli.
Designed respectively by Demna and Ghesquière, the bags appear here as symbols of the House’s past, acting as a bridge to Piccioli’s new vision. It’s not a blank slate. Piccioli puts at the centre of the campaign already existing designs, honouring the former creative directors. It’s not about the new or the latest collection but about embracing what already exists and what we already own. For a House like Balenciaga, this kind of approach is very interesting as it opens up refreshing conversation about sustainability and continuity. Pierpaolo is not telling us to throw away the old things but rather to keep them, to give new life to these pieces, to find ways for them to adapt to evolving styles and trends, allowing them to remain contemporary.
This new direction may or may not appeal to everyone. Stylistically speaking, it clearly distances itself from the Balenciaga of the past ten years. The House’s new target is completely different, and it’s evident that those who will now buy Balenciaga are not the House’s former clients, but Piccioli’s fans. And although the question of where all that creative world built by Demna will go arises quite naturally, it’s interesting to see how Piccioli is trying to preserve those past symbols and codes, acting almost like a lighthouse and offering subtle references to the old clientele to help them not feel completely lost in this new creative sea.
