The Balmain Style
In 2011, Olivier Rousteing was appointed creative director of the fashion house Balmain. He was just 25 years old. This documentary delves into the life of this fashion wunderkind, who uses social media to inspire a new generation.
Narrator: A few hours before the show,
its action stations at the House of Balmain,
all hands on deck to wow the media,
the clientele, and Rihanna.
[ Speaking French ]
Narrator: Pierre Balmain was the first designer to make Paris
and the world dream again after the horrors of World War II.
Still, today, his house pursues this mission to wow the world
despite the crisis.
Balmain is independent, the team small and united
around its very young designer, Olivier Rousteing.
This 28-year-old is a ball of energy and ideas.
New generation, new way to make fashion.
I think it's probably the best job and the worst job.
Big and small. Big shoulders, small skirts.
Narrator: Rihanna is a huge fan
and meant to be attending the show.
That is, if all goes to plan.
Narrator: How does a young designer unexpectedly take over
at an old French fashion house,
the epitome of chic and extravagance,
bring with him old atelier hands and adulating interns,
and survive the pressure to stun the crowds?
This is "The Balmain Style."
The day of the collection, we discover the atmosphere.
The rails are empty, nothing is ready.
[ Laughter ]
Narrator: Olivier Rousteing is surrounded
by his close team, his gang.
Everyone knows each other well
and the atmosphere is so relaxed,
they even dare contradict the designer.
Narrator: Okay, so it doesn't mean they win,
but at least they're allowed to try.
Narrator: The working method is very strange, frankly unusual.
No traditional preparatory sketches here
or draping sessions on models either,
but a photo board of the pre-collection outfits,
which has just been presented.
They touch up directly on the photos --
add, cross out, exaggerate.
This new collection will be an extension
of the previous collection
so as not to shock the clientele's accustomed eyes.
Narrator: Embroidery is designed with felt tips,
detail sellotaped, Tipp-Exed, cropped, touched up.
This is design in the copy and paste age.
A belt becomes a bustier by dint of being copied and pasted.
Another orange belt is reproduced
times over to create a dress.
The man who defines the Balmain line is Olivier Rousteing.
He was 26 years old when the public first discovered
and applauded him at 3:00 PM on September 28th, 2011.
Anna Wintour had to clean her sunglasses,
it was so dazzling,
Olivier Rousteing's hallmark at Balmain is
leather worked as if it were cotton.
Extreme, awesome, almost rigid embroidery.
We went together to the Met Ball once,
where she couldn't even eat. Remember?
I couldn't eat. It was like this.
She couldn't eat.
She was like, "Olivier, I think I have a problem."
[ Laughs ] So he had to feed me.
-"Can you unzip me?" -He had to feed me all night.
Narrator: Women streamlined into cubes,
wide-shouldered busts reduced thanks to high waists.
When the media discovered his dresses in raffia,
rattan, and plastic inspired by chairs
he'd seen in Miami and Cuba, it was literally stunned.
He entered the tight circle of respected designers.
His ready-to-wear is so sculptural it becomes couture.
In the space of a few seasons, Olivier Rousteing
has won the esteem of the world's fashion editors
and of pop stars who wear his clothes,
like Beyoncé and Rihanna.
Rihanna even agreed to pose for his advertising campaign.
The Balmain line starts with this -- a robe dress so complex,
a paper sarcophagus has to be made to picture it.
a skill particular to Balmain, to visualize the finished result
and iron out any technical problems.
Initially white, the dress didn't earn votes
and has to be dyed at the last minute,
testing everyone's resourcefulness.
Narrator: Fitting of the yellow dress?
It turns out to be ultra tight.
We have a zip problem.
How far should it go down to make it wearable yet still sexy?
Narrator: Balmain is a very French fashion house,
small but internationally renowned.
There are Balmain perfumes, but it's the ready-to-wear sales
that drive the company's growth, an institution whose employees
are given bridal gowns for that special day.
Its headquarters are still located at 44 Rue François 1er,
where Pierre Balmain founded the label,
but the studio has moved two blocks away,
close to the Champs-Elysées.
This is where Olivier Rousteing does fittings with models,
and it's complete with a small photography studio.
Just next door, a kind of experimentation room
where hundreds of processes are created,
crazy material effects, unbelievable crocodile
and gold canework,
metallic-studded panther fabrics,
reconstituted zebras, hybrid tartans.
Next to this is the office of tireless model makers
Gloria and Valerie, a sewing studio,
marketing offices, a kitchen-turned-lab,
a fabric store, a traditional atelier.
Then there's the corridor of fame,
home to the finished models bound for the runway.
Narrator: From a practical point of view, this means,
if Olivier Rousteing is inspired in the morning by,
let's say, a basque suit from the Balmain archive,
he can go choose the fabric from the store,
have the pattern made by the model makers,
the fabric cut in the atelier, the basque assembled...
Narrator: ...approved, and in the evening,
the basque is fitted on the model
who'll wear it at the show.
And, snap, photo.
Narrator: From idea to fitting,
everything's done on the same floor and in record time, too.
It's the typically Parisian method,
and this is how, starting with 0.3%,
they manage to finally complete the big jigsaw puzzle
of a show.
Icon of the contemporary Balmain line,
Rosie Huntington-Whiteley, model, Hollywood actress,
and Balmain woman from head to toe.
-Head to toe, look. -Head to toe.
Narrator: Rosie Huntington-Whiteley
is the type of all-conquering woman
that fascinates Olivier Rousteing.
I do know what I want.
Formidable no matter what team you're on.
She can turn any gay straight.
When she dresses behind the scene,
her first encounter with the Balmain wardrobe
causes a sensation.
Olivier Rousteing kneels at her feet.
She's strapped in and the parade begins.
Beware, this is no ordinary silhouette.
The waist is so high that it's just
an ultra-cropped biker jacket now,
a new kind of bra, a double belt, a paneled basque,
a rope skirt sealed with cabochon,
12-centimeter stiletto heels.
Balmain woman means business,
an anatomical subterfuge with legs
seeming to start under her boobs.
Fitting approved in just five minutes, and she's unzipped.
Sensational. Second fitting,
it will be with this dress, seen earlier in paper,
then worked on for hours and hours --
a very sophisticated braiding of leather and plastic,
a black sheath dress.
I like to be like... in my clothes.
No, it's really rigid, but it's good.
Makes you, like, alive.
I don't know when you have things that...
Hurtful heels, it's always good.
Rousteing: She's a tough one, huh?
Narrator: To really define the Balmain line,
you need an assistant at the helm,
plus a stylist with an objective eye.
Amanda is the team member who knows everything,
who micromanages everything.
She knows the collection inside out, every last detail.
The more technical it is, the more infallible she is.
We wanted to test her.
How many pleats are there on the basque?
Well, I'm Olivier's assistant,
so I'm supposed to be aware of everything that's going on.
I love creating things. I don't know if I love fashion.
I love developing new things.
And I kind of fell into it by chance.
And I don't know. I think it's a cool industry
where you get to develop things
and you get to share them and people wear them
and you get kind of immediate feedback on what you do.
Narrator: The other indispensable person
at all fittings, the impartial eye,
is consultant-stylist Luca.
Narrator: It isn't just Olivier Rousteing who works half naked
as this footage of Pierre Balmain shows.
Yes, it's him doing draping sessions in public.
So Olivier Rousteing's tiny T-shirts are justified,
as Balmain did it before him.
It's all hands on deck here, even in the admin offices.
Everyone puts their shoulder to the cloth.
Patricia, whose job itisn't,
finds herself given the very tricky task of undoing a top
in orange marmot.
Narrator: There's a 16-centimeter strip
of fur to remove.
Cutting is slow but must be even and uniform.
A snip too far and the top will fall apart.
Narrator: What Patricia's doing is actually a Balmain tradition.
In July 1949, when a seamstresses strike
brought Paris fashion houses to a halt,
the salesgirls, secretaries, management,
all the Balmain staff pitched in
and together finished the collection on time.
Narrator: Three hours later, here's where she's at.
Narrator: This top is a real headache.
For the fitting, pins are used to mark the new length.
Narrator: So they start over with safety pins.
Narrator: Guess what's going to happen.
Narrator: And there's a surprise.
Narrator: So it has to be cut,
undone all the way to the bottom,
but without damaging the netting.
Of course, the safety pins have got caught up in the fur
and are literally impossible to remove.
Narrator: What a drag. Pliers, please.
Narrator: And the good news is the problem with the red top
also exists in yellow, and it's even worse.
It's fitted on model Riley with a very elaborate basque,
also full of pins.
It's so beautiful on you.
Narrator: It's Verica, an atelier, who has to finish
the basque in zebra, metal and leather.
Narrator: The Balmain studio is pulling its hair out
over this crisscrossed leather halter top edged with rivets.
It's tried on, but no one's convinced.
The model makers sense it's going to be a hard slog
to finish this top.
And a change of model means it has to be altered.
Trouble is, the top is extremely delicate and resists.
Narrator: This is the man who defined the line,
He was broad shouldered with a boxer's nose
and a craftsman's hands, which sketched quickly.
From 1939 to 1945, Pierre Balmain
spent the war working at Lucien Lelong
with fellow stylist Christian Dior.
There's a newsreel of their models on the Champs-Elysées
near the movie theater reserved for German soldiers.
Narrator: Fashions had to adapt to the day.
Close fitting due to fabric restrictions,
sporty cuts as women had to cycle.
Narrator: And then came the liberation.
Pierre Balmain heard the occupiers had just moved out of
44 Rue François 1er.
On a whim, he decided to strike out on his own
and base his label there.
When he left Lucien Lelong, Dior burst into tears.
It was the end of their friendship.
Dior would wait a few years before daring to go solo.
Balmain was the first to realize,
despite the hard times in Paris,
that the capital was party, party, party, party,
party, party, party.
The stock exchange picked up. Time to dance.
The economy got going again. Time to celebrate.
Narrator: In 1945,
Paris couldn't believe it hadn't been destroyed.
People were still traumatized by the war,
but the end of hostilities
led to the most euphoric period of the century.
Balmain's first show was held in October 1945.
He designed quickly and created fashions women wanted,
the exact opposite of the war years.
Writer Gertrude Stein attended
and wrote about the event in "Vogue."
The Duchess of Windsor ordered right away.
Cinched waists, slender lines,
bell dresses for the wealthy women,
refined all the way down to her amazing umbrella handle.
Narrator: From the start,
the Balmain wardrobe was made for the day,
but above all, for the evening.
Ample volumes, newfound opulence.
Frills, lightness, town suits, afternoon dresses.
But above all, cocktail dresses.
Negligees for intimate dinners, gowns for dinner parties,
clothes for ceremonies and country casuals.
And when the Musée Galliera
held a retrospective of these clothes,
only previously seen in black and white,
everyone realized how crazily colorful they were.
Balmain was even known for having his furs dyed
in bright colors,
a tradition taken up by Olivier Rousteing.
Narrator: The whole world spied on Balmain.
He was so successful that two years later,
he launched his first perfume.
Pierre Balmain addressed the stars,
regal Katharine Hepburn and Ingrid Bergman,
the Italian actress in Sophia Loren,
but also Josephine Baker in totally extravagant gear,
and Brigitte Bardot in a petal wedding dress for a movie.
In 1955, he made the model of a young contestant
in a prestigious world design competition, Karl Lagerfeld,
who then worked as his assistant for several years.
In the decades that followed, Balmain
became known as the ornamental couturier.
Narrator: On June 29th, 1982...
Narrator: Pierre Balmain worked right up to the end.
Cancer-ridden, he carried on designing in his hospital bed.
A month after he died,
the house's couture show was held.
The ateliers executed his designs,
but as the master had no time to decide on the fabrics,
the models were left white like blank canvases.
The emotion was great
and the collection won the Golden Thimble,
the greatest fashion award at the time.
Erik Mortensen, his loyal assistant since 1948,
took over for the next 10 years.
A few hours before the show,
the Balmain galaxy gets into gear.
Models file through the door
and head for the screen in Olivier Rousteing's office.
Rousteing: Drama, no?
Drama, ultra loud music.
It's the Jolie Madames cavalcade.
Can I get my beat, please?
[ Music plays ]
Narrator: And it's the festival of Balmain women.
the kick-ass girl...
the warrior, the quiet type,
the clumsy chick, the legs, the sexy lady.
Shoulder pads are added to further streamline
the invincible Anja Rubik.
There's the new girl, Binx.
She's already got Luca under her hood
and is sized up more than the others
since she's debuting.
There's the girl startled yet ecstatic
about the transformation to such a degree
she instantly morphs into a seductress.
So cool. So cool.
Narrator: That's one of the powers of fashion.
You look in the mirror and suddenly feel strong
They feel amazing.
Narrator: She puts on a hoop as big as a star.
Olivier Rousteing and Luca go to pick something
out of the wardrobe in the corridor.
They both throw themselves at the girl.
Luca opens a collar on the left.
Side-by-side, standing or sitting,
they take off together, they cancel together.
Narrator: The little coat is taken off,
then put back on, and they pace up and down.
The thermonuclear girl, the killer...
The oh-so-funky dollars are thrown in her wake.
And Luca ends up walking with her.
It never stops.
Back to that yellow dress, five brave interns.
No worries at first, their hearts are in it.
The canary yellow coloring workshop is complicated.
The dress is composed of several materials
which react differently to the felt tip pens.
Then they're four, then three, fight it, then two.
It's a state of mind.
Miss, you're on camera.
And night falls.
Narrator: And finally, all alone, Jane, the survivor.
Zen meditation in yellow.
Actually, I was on mark-- coloring a dress for three days.
Just tired. [ Laughs ]
Narrator: The ateliers are buzzing with energy,
like a power station.
Narrator: Time for geopolitics.
Verica, the Croatian, is next to Vlado, the Serb.
Narrator: Contrasting with the usefulness of the studio,
there's the old guard in ateliers -- meet Larbi.
Narrator: How long have you been doing this job, Larbi?
Narrator: Like two brothers with identical mustaches,
the inseparable Larbi and Vlado on their coffee break
because, yes, you need coffee and plenty of it
to maintain the frenetic pace.
Narrator: In terms of technical difficulty,
the tension reaches a peak when supermodel Joan Smalls arrives
to try on the riveted leather crisscross halter top.
Rousteing: It's like that at Balmain, no?
Uh-huh. Nipple piercing.
A big clip is put on the back
to adjust it temporarily.
Olivier Rousteing is worried, and when he's worried,
he walks around mulling over what's bothering him.
It has to be perfect
or the crisscross halter will be canceled.
Hours of work down the drain, and the wall
is already covered with gray stones for clothes
that have been developed, then dropped.
Momentarily, Joan Smalls' self-assurance
seems to convince him, but it'll take a lot of work.
Narrator: The seamstresses look stressed out.
[ Both sigh ]
Narrator: The interns contribute to the house's energy.
With their feverish desire to be here,
they remind the old guard of the vitality of their debuts.
Ludovic, who helps out at every stage of the production process,
was already spotted trying to gatecrash a Balmain show
a few years ago.
Debbie's good mood is infectious.
Narrator: And all see Olivier Rousteing's youth
as proof you can make it fast in this business.
Narrator: Small teams and inventive techniques
mean creative DIY.
In fact, the interns at Balmain
are on a never-ending practical course.
They learn sleight of hand on crazy frogs,
how to put rivets on leather or dyed clothes,
like 18-year-old Steven,
who is handling the pan of dye like an old pro.
Narrator: It's forbidden to bring food into the kitchen here
because it's an arsenal of resourcefulness and creativity.
Narrator: But the finished article has to be okay'd
by the tough cookies in the atelier.
Narrator: And back Steven goes.
Narrator: Final fitting of the yellow dress.
Narrator: Or the very definition of the big event dress,
typically Balmain, guaranteed to make an impression,
not only at a party, but on your bank account, too.
Narrator: Constance Jablonski is a regular at Balmain shows.
The French model has just the right look for the house.
Narrator: She inherits a leather belt that's really hard to adjust.
Narrator: Drama on the runway.
Narrator: As she's still breathing,
they add the enormous Maasai necklace.
And now a demonstration
of how to strut perfectly in the world's tightest belt.
Narrator: Bad news -- just when everyone thought the nightmare
of the yellow dress was almost over,
Amanda, Olivier Rousteing's technical right hand,
comes to inspect, and suddenly ruthless, meticulous,
and fastidious, Amanda throws a spanner in the works.
The dress has to be completely taken apart
to dye the lining yellow.
Obvious, but a shame no one thought of it till the last day.
Narrator: Once the lining is dyed, who is going to reassemble
the yellow dress and it's lining?
I am starting to shake. Seriously.
My hand is shaking.
In the middle of the night, Joan Smalls comes back
to try the crisscross leather halter again,
maximum pressure for the exhausted model makers.
Once a problem with the zip assorted, Joan Smalls
is asked to stick out her shoulders --
a more flattering position. And that's it.
Huge relief and a group hug. So the crisscross top makes it,
but it still needs a few hours of final alterations.
Patricia has worked nonstop.
The red top's netting gradually appears.
Narrator: And then it's tried again.
Except that, in the panic of undoing it,
another detail was forgotten, a key detail.
During the night, the foot traffic intensifies
as people scurry back and forth
between the ateliers' and the studio.
The tension mounts in the ateliers'
when Ludovic, the intern, comes to fetch the models
for the umpteenth fitting. It's "Mutiny on the Bounty."
Frustrated at not being able to finish, veteran Vlado
refuses to give up his model.
Narrator: So they try again, but with feminine charm.
Narrator: The dummies are rationed.
Narrator: The last changes take time.
You need good eyes.
Narrator: And when you can finish, your body gives up.
Narrator: The night before the very first Balmain show in 1945,
24 people worked flat out all night,
fainting, one after the other.
Even Balmain's mother helped out,
and those who slept for 15 minutes
did so on the floor with rolls of cloth for pillows.
To endure and keep their blood flowing,
some folks have secret recipes, like Charlotte,
Rewards for the interns.
These bracelets are backstage passes.
Tomorrow will be their very first show,
and they're totally overexcited.
Olivier Rousteing hides behind the atelier door
before bursting in with champagne,
handing out the bubbly,
toasting, and thanking the troops.
[ Applause ]
Narrator: But there's no need to take bubbly
to the model makers' office.
Narrator: They already have everything they need.
So we sacrifice ourselves. First, the lemon punch.
Narrator: Then the pineapple punch -- cheers.
Narrator: It certainly packed a punch.
The room reeled, everything became blurred.
The real magic moment is when Vlado sews the last label
on the last garment,
just as others did before him on the night of October 11th, 1945,
for the very first show.
The Pierre Balmain collection by Olivier Rousteing is ready.
First thing, a nasty hangover in the rain.
Time to head to the show at the Paris City Hall.
Narrator: Singer Rihanna is on Olivier Rousteing's mind.
She has to be at the show.
Narrator: Then there's the threat of negative reviews.
Narrator: Here we are
at the very rococo city hall with its ceremonial staircase,
huge backstage, high ceilings, crystal chandeliers,
ballroom, 800 square meters of gilding,
a monumental replica of Versailles' hall of mirrors.
The runway is a 50-meter-long black mirror
that's being scrubbed like the deck of a royal ship.
-Makeup artist Tom Pecheux... -Good morning
Narrator: ...describes the day's face to his cohorts.
Here is about quality, not quantity.
So the minimum you put, the better it is.
It's not about showing the makeup.
It's about the girl looking at their best with no makeup.
It would be just a little bit of a stronger eyebrow.
They see, then, the rest is very nude.
If you do the massage, you already win,
like, 80% of the work.
Narrator: This is Balmain's signature style --
a highly ornate girl who looks like she doesn't do her hair
or wear makeup.
Getting up was tough today, so vitamin C is handed out.
The interns are here.
Debbie knows security, having hassled them for seasons on end
in an attempt to wrangle her way in without an invite.
Narrator: Isabelle, the head seamstress,
puts the clothes on the rails,
and each model has been an epic journey.
Narrator: Amanda, the collection's hard drive,
gives very precise instructions
to everyone with a simple word of advice --
if there's a problem, shout.
If you have any issues, you scream for help.
Or you bring -- If there is any issues.
Gloria sews between two rails while Valerie does
an emergency job on the yellow dress,
which has been an ordeal, to say the least.
Her mission is to add a stitch to the zip,
which threatens to go up during the show.
Narrator: Ludovic helps adjust any tricky or uneven rings.
There's the odd moment of panic,
like when someone realizes at the very last minute
that the collars of the two sweaters in orange
and yellow marmot are only fastened with safety pins.
In the rush to cut them at the bottom,
the tops weren't altered.
Strips have to be added fast with hooks.
Narrator: This would usually take a good three hours.
Here, it takes less than 20 minutes.
Outside, the crowds are gathering.
Olivier Rousteing chomps at the bit backstage.
Frozen, he watches, gets increasingly stressed.
His American press attaché tries to reassure him.
There's so many great editorial things.
And this is so cool.
Journalist Tim Blanks tries to reassure him.
Look at this. It's amazing!
Yeah, it's all lace and leather.
The photographer tries to reassure him.
Rosie Huntington-Whiteley tries to reassure him.
-It's really good. -Yeah. You like the collection?
It's so good. So good.
Narrator: But he knows the Americans are coming,
the Russians, the Chinese, the British, the Italians,
the Japanese, the reporters, the fashion editors, the buyers,
the bloggers, the TV crews, the fashion students,
all ready for the robe dress which became yellow
thanks to the inexhaustible patience of a small army.
He bites his nails, poses with the models, but looks distant.
[ Camera shutters clicking ]
-He sighs... -[ Sighs ]
Narrator: ...stands in a corner, gnaws at his hands.
The wait is torture.
Pierre Balmain was very superstitious before a show.
The one time he forgot to wear his favorite scarf,
he was knocked down by a car on the way there.
And then, out of nowhere,
the great fashion journalist Suzy Menkes appears.
You look so nervous. If you love your collection,
everyone will love it, too.
Yeah. Yeah. Thank you.
But there is a huge problem. Rihanna isn't here.
Narrator: The room is full and getting impatient.
50 minutes late, it's already 10 to 4:00,
and there's another show scheduled at 4:00.
Narrator: Outside with the crowds, Paris looks like this.
Rihanna's car can't get through.
He goes round in circles, keeps his anxiety to himself,
tries not to communicate it to anyone.
Likewise, when model Constance Jablonski faints
because of her overly tight belt
and has to lie down for a moment between the rails,
his entourage tries not to panic Olivier Rousteing.
Rousteing: Powerful, stronger, strong.
Narrator: All of a sudden, Constance Jablonski reappears,
she's come round.
There's a barrage of flashes.
Suddenly, the first model leaves backstage
and takes off down the runway.
The Balmain Show has begun.
Rihanna isn't here. It's time to get moving.
Narrator: Panic -- Sasha's bracelets don't close anymore,
but Amanda comes to the rescue.
And as if by magic, she's got glue with her.
Narrator: Amanda is a genius.
We all want an Amanda in our life.
Come on. You feel better?
Narrator: The last model on the runway
will be Rosie Huntington-Whiteley.
What a body!
Even Tom Pecheux starts wanting to touch it.
[ Cheering ]
The warrior, the soldier.
A Balmain army.
Narrator: The show is over.
Luca and Amanda are very emotional.
The model makers are in tears.
Days and nights of tension are finally let out.
Woman: How are you?
Narrator: Cries from the heart from Luca and Olivier Rousteing.
Narrator: He also wipes away a tear
before being mobbed by the press.
Rosie Huntington-Whiteley had a close call.
And I'm hot, actually, really.
Can you see the steam coming off me in this dress?
So hot. It's great. Fantastic show.
Narrator: Olivier Rousteing's grandma says
just what a grandma should say in such circumstances.
Narrator: And his mother appears serene,
full of unconditional love.
Narrator: Pierre Balmain's mother never wanted her son
to go into fashion, but she later offered him
unfailing moral and physical support.
And backstage, they let out a huge sigh of relief.
[ Cheering ]
Narrator: Suddenly, Rihanna appears.
Rousteing: I don't want to disturb anyone here.
[ Laughs ]
[ Shouts indistinctly ]
That's amazing. Look.
Is this a one piece?
-Yeah, it's a jumpsuit. -And then there's a break?
-Yeah, and there's the belt. -I love that.
I love how you got all their layered jackets and stuff.
I was sitting in the f * *ing car.
It's okay. It's all fine. It's all fine.
-What do you like about him? -Everything.
[ Laughs ] He's super talented.
Super kind. Very sweet.
Really amazing person.
He's beautiful on the outside and the inside,
and it shows in his designs.
I love it. He's very bold, fearless.
And those are the things that I enjoy in fashion.
Can you marry me?
He takes risks. [ Laughs ]
I mean, this girl is, like, the one.
The one. There is no better girl.
Oh, my baby.
Narrator: Extravagance, stardom, optimism in this gray world.
Pierre Balmain passing the torch to Olivier Rousteing,
copy and paste coming to life on the runway,
ateliers applying themselves with patience.
And Paris, which, thanks to them,
continues to be a party, party, party.
And that's the Balmain line.