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Pierre Balmain, in full Pierre-Alexandre-Claudius Balmain, (born May 18, 1914, Saint-Jean-de-Maurienne, France—died June 29, 1982, Paris), French couturier who in 1945 founded a fashion house that made his name a byword for elegance. His clients included the Duchess of Windsor, the Queen of Belgium, and many of the leading film stars of the 1950s, as well as the experimental writer Gertrude Stein and her companion, Alice B. Toklas. “Dressmaking is the architecture of movement,” declared Balmain, who had initially studied architecture. After apprenticing with Captain Edward Molyneux, he joined the firm of Lucien Lelong, where he worked with Christian Dior, who was to become his main rival during their heyday in the postwar years. The House of Balmain was an immediate success, its clothes characterized by superb quality, particularly in evening wear, which combined femininity with an imposing elegance. He rapidly expanded, opening branches in New York City and Caracas and diversifying into perfume and accessories. Among the actors for whom he designed clothing were Marlene Dietrich, Katharine Hepburn, Sophia Loren, Ingrid Bergman, and Brigitte Bardot. He published his memoir, My Years and Seasons, in 1964 and in 1978 was made an officer of the Legion of Honour.In the ninth instalment of BoF’s fashion history series, we study Pierre Balmain, the designer who preferred making money to making waves. With the support of Cecil Beaton and Gertrude Stein, the couturier found himself feted on a global stage after just one collection. But a career chasing the custom of foreign royalty and Hollywood's finest at the expense of Parisien society left his legacy in tatters. Pierre Balmain in 1961 | Source: BoF LAST ARTICLE Nina Ricci (1883-1970) NEXT ARTICLE London's Westminster University to Launch 2-Year Menswear MA SHARE COMMENT BY COLIN MCDOWELL MARCH 2, 2016 18:31 Save PARIS, France — Up until the 1960s, when fashion became a populist hobby, French couture shows were significant enough to attract philosophers, artists and intellectuals to the front row, who, in turn, treated them as genuine first night experiences as they would an opera or play. Schiaparelli and Chanel attracted world-class luminaries including Stravinsky, Dali, Cocteau and Orson Wells. At the beginning of his career as an independent designer, Pierre Balmain had the honour of having two highly respected intellectuals, Gertrude Stein and Alice B Toklas, attend his first post-war show. Stein wrote a piece about it called 'From Dark to Day' for Vogue. In it, she talked of meeting Balmain during World War II and her friendship with him and his mother. He used to bring them reels of cotton from Paris to darn their socks and, inevitably, made clothes for them. As she said in the article: “I suppose at the opening, we were the only ones who had been clothed in all those long years in Pierre Balmain's clothes. We were proud of it… So pleased and proud. Yes, we were…” It is surely true that no tyro couturier has ever had a world–class intellectual and literary figure give his career such a kick-start. From then on, the name of Balmain was known to everybody in Paris fashion. Pierre-Balmain (1) Pierre Alexandre Claudius Balmain was born in May 1914, in St Jean de Maurienne, a small alpine village in the Savoie region of France. His mother worked in Galeries Parisiennes, a dress shop managed by his two aunts and owned by the man who would become Pierre’s father: Maurice Balmain — who had already inherited what was deemed a very successful wholesale drapery business. As a child, Pierre spent a great deal of time at the shop, subconsciously absorbing the idea of fashion by making and dressing paper dolls. Life must have seemed idyllic, but when his father died suddenly, Pierre (then aged seven) and his mother discovered that instead of being rich, they had virtually no money at all. The business had been failing for some time but it was kept secret by his father. One thing that was left was a chest full of theatrical costumes from the days of his father's amateur dramatics and charades. It was to have a huge effect on his son's imaginative development. In 1925, aged 11, Pierre Balmain won a scholarship to a boarding school in Chambéry — where he took full advantage of the dancing, riding and fencing on offer. At the end of his education, despite his youth, Balmain was already a boulevardier and a man about town. He knew he wanted to work in fashion, but decided to study architecture at École des Beaux-Arts in Paris to appease his mother. As he suspected, studying architecture was not for him, and he soon decided to write to designers asking for a part-time position. He soon had introductions to Lelong, Lanvin and Molyneux — and it was Molyneux who gave him a part time job. Balmain's time at Molyneux was interrupted in 1936 when he was called up for military service, although he continued to work there until he was demobilised. Balmain was proud of what he learned from Molyneux, whom he later called "this elegant, aloof Englishman who held the fashion world in the palm of his hand during the 1930s." His next move was to Lucien Lelong, where he gained his first experience of hands-on design. It was at Lelong that Balmain met Christian Dior. The two quickly grew close and Dior became such a support for his fellow couturier that, when Balmain decided to open his own establishment, he asked Dior to go into partnership. Initially, Dior was attracted to the idea; there was much talk and planning but, in the end, Dior decided it would not work. They parted with feelings of betrayal on both sides and hardly saw each other again. It seems an extreme reaction but there was talk that the split signified the break up of a relationship that went beyond business. The coolness affected both men. With Balmain no longer at his side, Dior became discontented. But Balmain – much the tougher and more driven of the two at this point – could smell success. His first show was held on October 12th, 1945 at his salon in rue Francois 1er. Despite its dark richness with almost sombre colours predominating, it was a great success. Memorably, Toklas wrote of Balmain's first collection in terms that are still apposite to high fashion today: “suddenly there was the awakening to a new understanding of what mode really was: the embellishment and intensification of woman's form and charm.” She might have been talking of Dior's first collection, when the New Look was presented, but that took place a year after Balmain's show of which she wrote. The photographer, diarist and costumier Cecil Beaton and the artist, illustrator and designer Christian Berard, two of international fashion's greatest gossips, spread the word about 'the new kid in town' and Balmain's career was established. As Balmain rightly wrote in My Years and Seasons, published in English in 1953, “a couture house seldom escapes from the category in which it is initially placed”. And he was lucky to be placed in the first rank simply on the strength of one collection. On the back of resounding high praise, Balmain was determined to 'go for it.' Eloquent, self confident and persuasive, he charmed people enough to garner a 'treasure chest' of a million francs with which to set up on his own in 1945. However, even with one million francs, Balmain had to borrow 200,000 francs from his mother and sell a one third share of his business for a similar investment from two friends, both of whom withdrew from the deal — leaving Balmain with a much smaller chest. However, with no small amount of good fortune, the manager of Barclay's Bank in Paris happened to be a friend of Molyneux, Balmain’s previous employer and mentor. Over the course of six years, the bank manager found the right factors, did the right details and, amazingly, six years later,Balmain owned his company outright — precisely at the moment when his business was really taking off. Despite Chanel's rumoured put-down: “Well, provincial women have to dress too,” Balmain’s customer base included both British and American women, and he had strong support from the super-wealthy South Americans. Just as Valentino would 15 years later, Balmain had a 'don't frighten the horses' approach to his customers and, like the Italian designer, he knew what they liked and he gave it to them. It is a truism that, to garner real publicity, and the wealth it brings, every couturier needs an 'Audrey' moment to cement their career, as Audrey Hepburn did with Hubert de Givenchy. Very few ever have one but Balmain — who throughout his entire career had a knack of being in the right place at the right time — did. In 1947, on his way back from a promotional tour of Australia, he broke his journey in Bangkok. Once back in Paris, he was contacted by the Thai embassy. Queen Sirikit of Thailand was to tour Europe and the USA with the King. Would Monsieur Balmain return to Bangkok to discuss her wardrobe? It was the beginning of a close association but, rather as Audrey Hepburn did with Givenchy's career, it downgraded Balmain in the eyes of the international fashion cognoscenti. The lookers, talkers and gossips for which Paris is notorious even now, felt that a queen in Bangkok had little to do with French high fashion (although it must be said that she always looked elegant in Balmain’s evening dresses). But, Balmain wanted to make money rather than waves — he was never interested in developing ideas in the way that Dior, Balenciaga and Yves Saint Laurent were. And, unlike Dior and Balenciaga who kept a sense of distance from even the top customers, barely having social lives at all, Balmain met all the right people and confirmed his status as a society couturier. He had good relationships with actresses he dressed such as Marlene Dietrich, Katharine Hepburn and Sophia Loren, who were always given the very best treatment by Ginette Spanier, the charismatic directrice of his establishment, who was especially valued by everyone. In her autobiography, 'It Isn't All Mink', she describes how she frequently invited clients like Dietrich to her flat and cooked them a good square meal. As early as 1949 Balmain opened a boutique in New York and two years later, in 1951, he set up a company in the city in order to have ready-to-wear collections, based on his couture presentations, produced by the Elfreda-Fox company. The result is that despite his triumphs — his 1949 Jolie Madame Fragrance, his appointment as a chevalier de la Legion d‘Honneur in 1962, and the fact that he launched Revlon’s first perfume, Miss Balmain in 1966 — Balmain is never mentioned in the same breath as Chanel, Gres, Dior or Balenciaga. In fact, the house was barely mentioned at all for the rest of 20th century, despite the fact that after its sale in 1970, several designers including Erik Mortensen (who was Balmain’s lover), Alastair Blair and Oscar de la Renta took up the helm. As part of his Wool Secretariat Prize, even Karl Lagerfeld worked briefly at Balmain. Pierre Balmain has a place in the commercial history of French high fashion. Along with Jacques Fath, he was one of the first Paris couturiers to see the potential of the American market. But, at the time of his death in 1982 (aged 68) of liver cancer in the American Hospital in Paris, Balmain was no longer seen as a strong player in the French fashion scene. At that time there were 130 manufacturers worldwide making over 60 products bearing his name, including luggage, jewellery and menswear and, as the name Pierre Cardin proves, too much diversity is not always approved by the taste-makers of the high fashion scene. In fairness, however, it must be said that throughout his careerBalmain’s tailoring and his way with grand evening dresses were of the highest standard of workmanship. But the last word (or lack thereof) is best coming from the 'no punches pulled' pen of John Fairchild, owner of Women's Wear Daily, who in 1965 chose from the 45 couture houses still functioning, his personal 'Big Six' who had "put a stamp on fashion." It was a list in which the omissions spoke more eloquently than the inclusions. Despite his fame and financial success, Balmain was left off.Early life and career Balmain's father, who died when the future designer was seven years old, was the owner of a wholesale drapery business. His mother Françoise ran a fashion boutique called Galeries Parisiennes with her sisters.[1] He went to school at Chambéry and, during weekends with his uncle in the spa town of Aix-les-Bains, his interest in couture fashion was inspired by society women he met.[1] Balmain began studying architecture at the École des Beaux-Arts in 1933, also undertaking freelance work drawing for the designer Robert Piguet. After visiting the studio of Edward Molyneux in 1934, he was offered a job, leaving his studies and working for the designer for the succeeding five years.[3] He joined Lucien Lelong during World War II – where he met the young designer Christian Dior.[2][3] Death Pierre Balmain died at the age of 68 of liver cancer at the American Hospital of Paris, having just completed the sketches for his fall collection.[4] Personal life His companion was the Danish designer Erik Mortensen, who worked as a designer at Balmain from 1948 until 1991. Margit Brandt worked as a young designer with Pierre Balmain in the early 1960s. Balmain also spotted the talent of Karl Lagerfeld, hiring him in 1954 after judging a fashion competition that the young German designer won.[1] Fashion house of Balmain The fashion house of Balmain opened in 1945.[3] Initially it showcased long bell-shaped skirts with small waists – a post-war style that was popularised in 1947 as Dior's New Look.[3] The first collection was showcased in Vogue in the November issue and the reviewer's reaction was that Balmain delivered: "beautiful clothes that you really want to wear". A positive write-up in the magazine from Balmain's friend Gertrude Stein helped to seal the designer's success – early celebrity fans included the Duchess of Windsor who ordered from the collection.[1] Balmain was active in promoting himself internationally from the early days – touring Australia in 1947 and designing a line to be produced in the country.[1] He expanded operations to the United States in 1951, selling ready-to-wear clothes that earned him a prestigious Neiman Marcus Fashion Award in 1955.[1] He was, by this stage, designing clothes worn by Vojislav Stanimirovic and stars, such as Marlene Dietrich and Katharine Hepburn.[1] Such was Balmain's reputation that he was chosen to design the wardrobe of Queen Sirikit of Thailand during her 1960 tour of the United States.[5] In 1968, he created outfits for the 1968 Winter Olympics in Grenoble and he also designed outfits for both TWA and Malaysia–Singapore Airlines' (later Singapore Airlines) cabin crew in the 1960s and '70s. Air France's first female pilot in 1975 wore a uniform by Balmain[1] Erik Mortensen, a student of the Danish designer Holger Blum, began as a design assistant at Balmain in 1948. He and Balmain worked well together, and Mortensen quickly went from assistant to collaborator. He and Balmain worked together for the rest of Balmain's life.[6] Margit Brandt worked as a young designer with Pierre Balmain in the early 1960s. Balmain also spotted the talent of Karl Lagerfeld, hiring him in 1954 after judging a fashion competition that the young German designer won.[1] Costume design Balmain was nominated for the Tony Award for Best Costume Design and won the Drama Desk Award for Outstanding Costume Design for Happy New Year (1980). Additional Broadway theatre credits include costumes for Sophia Loren in The Millionairess (1960) and Josephine Baker for her eponymous 1964 revue. He also was a costume designer for 16 films, including the Brigitte Bardot vehicle And God Created Woman and La Parisienne, and designed on-screen wardrobes for the actresses Vivien Leigh and Mae West. He made a lot of dresses for Dalida.[citation needed] Perfumes Balmain also created perfumes, including Vent Vert (1947), his first successful scent and one of the best-selling perfumes of the late 1940s and early 1950s. Other scents included Jolie Madame (1953), Ivoire (1979), and Eau d'Amazonie (2006).[1] Die Verkörperung französischer Eleganz Er arbeitete mit Christian Dior und entdeckte Karl Lagerfeld: Der französische Modeschöpfer Pierre Balmain gilt als Erfinder des „New French Style“ der Nachkriegsjahre. Vor 100 Jahren wurde er in den Savoyer Alpen geboren. Von Björn Stüben Schwarz-weiß-Aufnahme: Pierre Balmain, mit Halbglatze, im Anzug, kniet vor einem Vorhang, um ihn herum knien und stehen vier Models, die Gartenutensilien und Blumen in den Händen halten. (dpa/picture alliance/UPI Rene Jarland) Pierre Balmain am 6. März 1951 in Paris. Die Models tragen seine Kollektion „Rund um die Uhr“. (dpa/picture alliance/UPI Rene Jarland) E-Mail Teilen Tweet Pocket Drucken In den 50er-Jahren schneiderte der französische Modeschöpfer Pierre Balmain bereits Filmroben für Leinwandstars wie Lana Turner oder Vivien Leigh, Simone Signoret oder Brigitte Bardot. Sophia Loren und Jane Fonda folgten, aber auch die dänische, belgische und thailändische Königin hüllten sich in seine schlichten und eleganten Haute-Couture-Modelle, die er immer Typ und Stil seiner illustren Kundinnen entsprechend kreierte. Eine unkritische Haltung dem Modediktat gegenüber lehnte Balmain 1963 in einem Interview ab: „Man sollte sich lediglich für das interessieren, was auch zur eigenen Persönlichkeit passt. Es ist lächerlich, wenn Frauen Kleider anziehen, die ihnen nicht stehen. Sie tun dies nur, weil sie modisch sein wollen. Momentan gibt es diese sehr hohen Stiefel, deren Schäfte bis zum Knie reichen. Darin sehen manche Frauen so lächerlich aus, aber sie können eben nicht widerstehen, nur weil sie meinen, es wäre aktuell.“ Zusammenarbeit mit Lucien Lelong und Christian Dior Balmain, geboren am 18. Mai 1914 in Saint-Jean-de-Maurienne in den Savoyer Alpen, verließ Anfang der 30er-Jahre die Provinz und das Stoffgeschäft seiner Eltern, um in Paris ein Architekturstudium zu beginnen, das er aber schnell zugunsten einer Laufbahn als Modeschöpfer aufgab. In den Haute-Couture-Ateliers von Edward Molyneux und Lucien Lelong in Paris lernte er sein Handwerk, bis der Zweite Weltkrieg seine Karriere unterbrach und er zunächst zu seinen Eltern nach Savoyen zurückkehrte. Doch Lucien Lelong überredete den begabten Couturier, neben dem jungen Christian Dior wieder für ihn zu arbeiten. 1945 eröffnete Balmain schließlich sein eigenes Modehaus. „Die Mode ist ein Phänomen, das eine Art von Wellen ausstrahlt und der Modeschöpfer ist derjenige, der diese Wellen wie ein Medium spürt und sie dann umsetzt. Mode entsteht nicht etwa aus dem Nichts oder spontan, sie wird vielmehr aus der Opposition zu dem geschaffen, was ihr vorausging.“ 1954 wurde Balmain bei einem Modewettbewerb, zu dessen Jury er gehörte, auf den jungen und talentierten Karl Lagerfeld aufmerksam. Er engagierte ihn als seinen Assistenten bis 1963. Die Marke Balmain war inzwischen zu einer der beliebtesten Modeadressen des internationalen Jetsets aufgestiegen. Die amerikanische Schriftstellerin und Kunstmäzenin Gertrude Stein bescheinigte Balmain, den „New French Style“ der Nachkriegsjahre geschaffen zu haben. Marlene Dietrich oder Michèle Morgan etwa entdeckten den modern-schlichten Balmain-Stil für sich. Sogar Fluggesellschaften statteten ihr Bordpersonal mit seinen Modellen aus. 1970 sah sich Balmain dennoch gezwungen, sein Haus zu verkaufen. Aber er blieb weiterhin der kreative Kopf der Marke. Seine Prêt-â-Porter-Linie, die er nun ins Leben rief, machte seine Mode auch für ein breiteres Publikum erschwinglich und stärkte wieder den Umsatz. Doch sein Herz hatte immer an der edleren Haute-Couture und deren erlesenen Kundinnen gehangen. „Die ideale Frau existiert für den Modeschöpfer nicht. Er bevorzugt weder braun- oder rothaarige noch blonde, weder große noch kleine Frauen. Für mich zählt vielmehr die moralische Haltung einer Frau. Als Modeschöpfer ist sie für mich dann ideal, wenn sie sich wie eine Dame verhält.“ „Meine Mode verkörpert französische Eleganz“ Der Erfolg Balmains war der durchdachten Schlichtheit seines Entwurfs zu verdanken. Diesem Credo treu zu bleiben, fiel dem Modehaus nach dem Tod Balmains im Juni 1982 zunächst schwer. Erst mit Designern wie Oscar de la Renta 1992 oder Christoph Decarnin 2006 an der Spitze konnte die Marke wieder an vergangene Erfolge anknüpfen. Seine Vorstellung von Mode hatte Pierre Balmain Zeit seines Lebens sehr genau definiert: „Ich bin davon überzeugt, dass meine Mode französische Eleganz verkörpert. Meine ganze künstlerische Kreativität beruht auf dem Streben nach Qualität und dem Gleichgewicht in der Konstruktion. Für mich ist kein Detail an einem Modell akzeptabel, das nicht direkt zu dessen Konstruktion beiträgt. Von einer Verzierung um der Verzierung willen halte ich überhaupt nichts.“