Cristbal Balenciaga, born in the Basque town of Getaria at the end of the nineteenth century, was the son

of a ferryboat captain whose passengers included King Alfonso XIII and Queen Ena of Spain, who had a summer residence, Miramar Palace, in nearby San Sebastin. The royal presence had made the area fashionable, and some of the local aristocrats patronized Balenciagas mother, a seamstress. [2] Our story starts Balenciaga the architect creates the egg. Spring 1957 is the date and the quest for a new birth find its place in an egg shape in his coccon coat. After hard times of war and the post war era with cold war consequences music gives his reaction to those days, new solution are searched for economic conflicts and even Francis Crick and James Watson discovered the double helix structure of DNA. Who could say that it did not help us to understand the brand DNA of the fashion house ! Terence Brown, Balenciaga House Consultant says : That was a time of new looking, dressing differently and a new birth after the war time. And we can add also that was a time for being comfortable. After tight times and tight garments. Lourdes Cerrillo Rubio mentions that Balenciaga gave a comfort to the woman of the time by his designs[3].. Comfort and space notions are so present in his design for coccon. But we should also notice that he choose an extreme way for his birth. That was not a regular birth. This particular birth happened with the aid of his collegues of course we cannot deny the role of Abraham for exemple who create gazar fabric for him and in this way it gave his creations a sculpture without relying a skeleton. For creating an arctitectural construction. Even though it is very structural it is obvious that the lines are smoth as much as they can be. War was full of harsh straight and solid lines then it was time to change, and it was a birth it should have been different and full of shapes.,

Mario Testino says that : When we look at the relation between Balenciaga and Architecture there is a huge correlation, in Balenciaga it is all about shapes

Bold Materials that he used supported the architectural dynamic which is so present in his designs. His innovations in cutting techniques were so important Suzanne Lussier also mentions that he is was a very qualified pattern maker. [4] Balenciga as a human being is very focused on his work and he refuses a big relation with media even some sources mention that he is media shy. [5] This attitude made him and his house more mysterious maybe that was not a marketing choice but that attitude made them more noticed than some other brands which tried to hard to make advertisements. When we argue about the brand DNA of the Balenciaga House we would say that the mother of the brand is a Spanish woman and the father French. Even though Balenciaga melts those two cultures in his own style in some collections and in some period of times French chic and Spanish flamenco dancer are so present. Or Velasquez and Spanish renaissance plays a big role in his inspiration. [6] n his first collection we can talk more about fitted garments then silhoutte changes.

All woman search for their special identity. All woman have sleeping qualities of luxury and mystery. Balenciaga brought the body and the dress together in harmony and suddenly a women found herself in perfect rhythm with the universe Diana Vreeland

Ive always felt that the most important thing is finding a way of escaping the framework or aesthetic consciousness with wich I am burdened. Arata Isozaki. [7] Balenciaga did not only escape the framework of the design norms but he is also created new radical aesthetics in fashion which influenced an era. Beauty will result from the form and correspondence of the whole, with respect to several parts, of the parts with regard to each other, and of these again to the whole; that the structure may appear an entire and complete body, wherein each member agrees with the other, and all are necessary to compose what you intend to form. Andrea Palladio When we look at Balenciagas work especially at the design chosen for the project ( ) the form is one of the major aspects catching the eye at the first look. For some, that design represents a refined art form for some others it is a new silhouette for its time. Terence Consultant for Balenciaga says that cocoon jacket of Balenciaga is about birth, maybe a rebirth. That shape which reminds us the egg shape symbolizes a research for the time, a research for a new style and for a new look. That new look of course is not about Christian Diors one.

All were clear and straight in his lifes as in his designs Givenchy

In one hand Ludwid Mies van der Roche says : Less is more and in the other hand Robert Venturi says Less is a bore. n Cristobal Balenciagas minimalistic works we would argue that Roche has a reason. Minimalism is one of the aspects which symbolizes the 1950 collection of him. And the design of him creates a big surprise for the time even though that was less I always try to think in curves. By defining his own work Greg Lynn also defines the design of Balenciaga for the chosen piece. Smooth lines curves and architectural shapes explain us the work of the designer. Louis Sullivan who says that form ever follows function can also support our thesis. n architecture the function is one of the most polemized subjects. Building before every aspect should be a place comfortable to live and I when I asked to Patsy Kensit how comfortable were the clothes of Balenciaga she answered as she was in a total comfort. Even if the form of Balenciaga is not following a function we could suggest Philip Johnsons who says form follows form, not function. In furniture design the basic problem from a historical and practical point of view is the connecting element between the vertical and horizantol pieces. I believe this is absolutely decisive in giving the style its character and when joining the horizontal level. Alvar Aalto

2 http://www.vogue.com/voguepedia/Cristobal_Balenciaga 3 CLEMENTEL Pierre Arizzoli, ARZALLUZ Miren, RUBIO Lourdes Cerillo, 2011, Balenciaga, England, Thames & Hudson 4 Susanne Lussier Lecture, The History of 20th Century Fashion in Silhouette, 22.04. 2013, Conde Nast College of Fashion and Design, London 5 MLLER Lesley Ellis, 2007, Balenciaga, England, V&A Publications 6 WILCOX Claire, 2009, The Golden Age Of Couture, England, V&A Publications 7 DUSHKES Laura S. , 2012, The Architect Says, USA, Princeton Architectural Press