Demna is presented in Balenciaga with a final show full of stars in Paris | Balenciaga

Kim Kardashian modeling a negligible fake vision coat inspired by Elizabeth Taylor. Nicole Kidman and Kyle Maclachlan nattering in the front row. And an appearance of Mrs. Bezos itself.

The stars were always going to align in Paris for Demna's final show in Balenciaga. And on Wednesday at lunchtime, the most controversial designer and copied in the modern way after a decade with a show that adjusted to the idea of ​​haute couture as much as he challenged it.

Backstage, Demon spoke with relief about “leaving this city that I love and hate for good” when he moves to his new work in Gucci in Milan next week. But before that, I wanted to “make haute couture relevant.”

Democratizing haute couture is not easy. These things are handmade for demanding and very expensive rules. But the plan was to wear the show as a scenario and clothing as costumes for social comments. The previous hot topics have included climate change, booty and AI verbs. Wednesday was a study of the relevant clothing codes of “La Bourgeoisie”, and the few money sat here that came out for it.

The scenario itself was the old apartment of Cristóbal Balenciaga, restored to its luxurious cream glory of the 1960s when the Georgian designer introduced Couture in 2021.

In the glamorous end there was a sugar pink debutant dress made of the lighter organza in the world, and a skirt suit with sequins based on, what else, the kitchen tablecloth of Demna's grandmother. Without a doubt, Mrs. Bezos had her eye on the elegant corset dresses that came without boneless, “so you can breathe,” he said.

Famous for turning traditional beauty notions by launching models of all ages and sizes, nine Neapolitan suits without shoulders and modeled by bodybuilders came out because “it is not the garment that defines the body, but the body that defines the garment.”

The references of Demon's best successes followed, including a coat without seams and haute couture coaches, while Cristobal's references came in long shapes and sleeves; The show ended with a bell -shaped guipure lace dress that referred to the Balenciaga scale of the 1950s.

Few designers have had the cultural scope of Demon, who was appointed creative director in Balenciaga in 2016 after seasons in Maison Margiela, Louis Vuitton and his own label, Vetements.

During his career here, he has orchestrated brakes around ordinary articles such as Crocs and Ikea Frakta Bags, altering the meaning of good taste while irritating critics by hitting four -digit price labels to anguished coaches.

After a joke and a comment on the hierarchy of value, he proved to be a particularly lucrative gag for the parent company of Balenciaga, Keing, becoming a megabrand of one billion dollars.

For some, Demna never recovered from the accusations that he had won child exploitation in a series of ads that involve BDSM and children images in 2022. At that time, he assumed responsibility, although the scandal abolished both the hype and sales.

Ultimately, he preached a departure from his most viral designs, which had begun to distract, and focused more on his skills as a designer.

It is happened by the relatively safer designer, Pierpaolo Piccioli of Valentino. The Demine's back catalog will continue to polarize, but his legacy is indisputable. As Demon said: “I'm so hard with myself, but I couldn't do better than this in Balenciaga.”

Was this last collection of Giorgio Armani? Last month, for the first time in the history of the designer, the designer lost his shows of Milan due to poor health.

The plan had been caution, a break before this show. Then, a non -presentation of the designer in his show at the company's headquarters this week, along with visibly emotional models that roam Erté's sketches on the catwalk, he certainly sent languages ​​moving.

In an attempt to stop the rumor, the 90 -year -old designer explained his absence to a handful of reporters in an email: “Although it was not in Paris, I supervised all aspects of the program remotely through a video link, from the accessories to the sequence and makeup.” His absence, he said, was at the request of his doctors: “Although I felt ready to travel, they recommended extending my rest.”

Regardless of whether I could pay an Armani suit, one of his legacies has been encouraging women to wear pants costumes. And in the show, between the sculptural peplums and the ribbons with large arches, funeral black tuxedos arrived. Apparently glamorous versions of male clothes that began in the 1980s, there was also a purpose for them.

Eager to control the narrative of his Armani Empire of £ 10 billion, of which he is a single shareholder, it was quickly remembered that “everything [we saw] … It has been done under my direction and carries my approval. ”