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Architecture of Movement

Pierre Balmain once famously declared; "dressmaking is the architecture of movement". And if Pierre were alive today, he'll be pleased to know that his revered French fashion house Balmain, still very much lives by this philosophy, thanks to the talent of Christophe Decarnin. Still very much paying homage to Balmain's rich history of uncompromising elegance, Decarnin has reinvented the brand, bringing it to life with breathtaking designs imbued with a street aesthetic. Katharina Kowalewski caught up with Christophe Decarnin in Paris.

In only two seasons you managed to renew the design of Balmain and create absolute hype and revive the prestigious past of the house. Do you feel more like you've changed or reinvented the brand? What is the key factor to your success?

Actually, it's more like an interpretation of the brand – a personal perspective of a big name in fashion. It involves taking up the codes that have given the Balmain company its name and adapting them to fit today's age and its lifestyles. For me, Balmain has always been synonymous with evening wear, clothes for exceptional occasions. It therefore made sense to focus the collections on this type of clothing. As for the 'secret' if there is one, I think it's that we've been, from the very beginning, specific with our message, you could almost say uncompromising. A 'rock & roll' evening, with a blend of almost 'luxury' dresses that are cut extremely short just before going out, and worn t-shirts that are embroidered, worn with pants cut in luxury fabrics that themselves may be worn or stone-washed like jeans. It's about adding casual to evening wear - a cocktail version of the daytime jean and t-shirt attitude. I think a generation of girls identify with it.

When did you decide to be a designer and which designers inspired you? Where do you get your influences from? Which other arts/artists inspire you?

When I was a child, I drew all the time. I was also passionate about all the old clothes I would come across. Very early on, I remember cutting them and changing them to make new ones. Later I cut things from fabrics that I wanted, either for myself or for my friends. And then when I was a teenager, a book of photographs by Richard Avedon represented a turning point, it opened up the world of fashion to me. Ever since, this book has remained my authority in terms of fashion photography from the 50s to the 70s. I was drawn by the fashion images more than the designers. I'm also inspired by Hollywood cinema, with its image of glamour, of exception – something to dream about really.

I often have a hard time pinpointing the source of my inspiration. It's always some kind of blend. Kind of like a shaker, where every season I add everything I like, plus my influences at the time. I think everything inspires me really but in a rather instinctive manner; I'm not the kind of person who is always thinking or analyzing what I do. I'm above all aware of the fact that I'm lucky to be able to seriously practice a profession that I enjoy and that gives me immense pleasure. There are worse things than spending your days designing clothes for pretty girls!

What's your all time favourite cloth?

Denim and used t-shirts.

What is the right balance between retro and futurism; modernity and brand identity? And how would you describe the Balmain design today?

It's important to consider all that the past can bring us – it's a real blessing. I've merely skimmed the company's archives, but have discovered extraordinary things in them. The archives are truly Balmain's roots. You can't move forward if you're not familiar with your history. But it's also important to be able to take your distance, to evolve without turning your back on the past; to create for the present – not out of nostalgia or for 10 years from now.

I don't concern myself with trends. I design only what I want. Pierre Balmain would design clothes for women without making them into costumes. Each of his creations was meant for a specific time of day, from the extreme simplicity of daytime outfits to the extreme lavishness of evening dresses. It wasn't a question of being avant-garde or of being purely creative. He wanted his clothes to be wearable and to enhance the personalities of his customers. In that respect, I identify with this vision of fashion. The clothes should showcase the person's personality but not replace it.

Your last Prêt-à-Porter show started in the rhythm of George Michael's 'Freedom'. How much Freedom do you have as a designer in a traditional house considering economic constraints and in a time where ready-to-wear is said to be a "vitrine" for accessories and fragrances?

I have complete creative freedom at Balmain. It's something that's taking off again after having lying dormant for several years. The first thing to do was to redefine the new image of ready-to-wear, to give it visibility that would then help with the development of accessories. We have accessories for Summer 07 and are considering developing a perfume. But clothes continue to be the essence of my work.

Do you see a danger for the notion of brand identity when designers are hired and fired and changing from one major house to another?

It's surely dangerous in the sense that it may help destabilize a brand's image. Several seasons are needed to impose a new vision, to create a sort of osmosis between a label and a designer, to win over customers and secure their loyalty.

Why is it so difficult for young designers to work under their own name? Do they need the security of an established maison to be creative? Why is there no 'Christophe Decarnin' brand?

Today it's very difficult to get started by yourself. Designing a collection, being able to show it, generating orders - all this represents a real investment. Without a financial partner, it's extremely complicated and often destined for failure. Personally, I've always liked the idea of working for a brand. I find the process interesting; making use of its codes, its history, while contributing my perspective and influences is truly exciting! That may be the reason why I haven't yet felt the desire to create my own label, even more so in that the companies I've worked for have always enabled me to be fulfilled without feeling frustrated. Today at Balmain, I can propose couture dresses as well as worn t-shirts and leather jackets, put all of my stylistic aspects into my work while, of course, respecting the brand's values.

What is your strategy for the brand and the collections for the future? Where do you want to position Balmain?

Balmain should, as a priority, remained positioned on evening wear. The precollection is, moreover, moving in this direction for next winter, with more dresses at a lower price than the show models. But extensive research is still done in terms of materials, details, and embroidery. More daytime clothes are also considered to be different, exceptional pieces. I like the idea that people come to Balmain for this.

Where do you see the future of Prêt-à-Porter and what do you think of classifications of Balmain designs as semi-couture?

I like when Balmain is defined as semi-couture. Taking up sewing, cutting and construction techniques, performing traditional and luxury finishing and embroidery work, and adapting it for ready-to-wear is something that truly interests me - like designer dresses but that you can find in your size in stores all around the world.