“It’s a deep fake of a fashion show,” declared Demna Gvasalia, on the phone from his home in Switzerland ahead of the launch of the ultra-high-tech video for his spring 2022 “Balenciaga Clones” collection today. “What we see online is not what it is. What’s real and what’s fake?”
Ostensibly, one model—the artist Eliza Douglas, who has opened or closed Balenciaga shows since Gvasalia’s first collection for the house in fall 2016—appears wearing both women’s and menswear on a white runway in front of a black-clad audience. But no one was “there” and no one is “real.” “It’s a show that never happened,” Gvasalia laughed. “But the clothes are real; they were made.”
Accompanying information came in a deluge of language detailing the techniques the video producer Quentin Deronzier deployed to fake up Douglas’s appearance: photogrammetry, C.G. grafting of her scanned face, planar tracking, rotoscoping, machine learning, and 3D modeling. Phew, whatever happened to fashion press releases speaking about bias cutting, draping, arcane fabric weaves, embroidery, and inspiration? We’re in a new world now, in large part because all designers have had to grapple with 15 months of the pandemic preventing real-life show gatherings. What’s the alternative onscreen? Gvasalia, for one, has delighted in grabbing the opportunity to shift the medium of brand Balenciaga ever further into the realms of multilevel, conversation-and-meme-generating entertainment. He started consulting with tech people well before the virus got out.
There’s the Hacker Project, for one thing—this season’s return match with Gucci, in which Balenciaga has “stolen” classic Gucci bag shapes and reprinted them with BBs instead of GGs, just as Alessandro Michele reproduced Demna Balenciaga patterns and diagonal branding in his last collection. There’s a Gucci best seller GG buckle belt redone with BBs too. “Alessandro and I are very different,” Gvaslia remarked. “But we both like to question this whole question around branding and appropriation…because everyone does it, whether they say it or not.” Surely a mischief-making dig at the social media court of who’s copied whom there—coals over which both Gvasalia and Michele have been hauled time and again.
One of the totes comes knowingly scrawled with the graffiti legend “This is not a Gucci bag”—a reference to René Magritte’s 1929 painting The Treachery of Images. Questioning the authenticity of what we’re looking at has been going on in art since Surrealist times. The result here: a perfectly oxymoronic range of “genuine counterfeits” for our mind-twisted times. Whether it actually matters who produces whatever in fashion anymore seems to be the big contention being raised. Up to a point. Sales receipts of these cobranded souvenirs will of course go safely back to the Balenciaga and Gucci parent company, Kering.