It was to a rare standing ovation from Anna Wintour on Saturday, October 4th, that Pierpaolo Piccioli delivered his debut collection at Balenciaga. The Summer 2026 Ready-to-Wear invitation was a cassette tape recorder that simply played the muffled sound of a heartbeat, with the collection aptly titled “The Heartbeat.”
Located in Kering’s 40 Rue de Sèvres headquarters, the runway saw a departure from the wasteland and isolation simulacrum landscapes (see Winter 2022’s snowstorm show or Spring/Summer 2023’s mud pit runway) that Demna Gvasalia’s RTW collections became so known for over the last ten years. Piccioli’s debut has been one of the most anticipated of this season as he steps outside of Valentino for the first time in 25 years and follows Demna’s 10-year tenure at Balenciaga. The latter’s work at Balenciaga is perhaps the most controversial and influential in the contemporary fashion world: his ultra-ironic superimposition of Balenciaga’s image onto meme culture has propelled a fashion world driven by clout culture. His philosophy, while at times, questionable in merit, has certainly managed to sell. Accessories, handbags, and shoes are likely Balenciaga’s biggest revenue drivers– and one of Piccioli’s greatest strengths.Bug-mask incognito sunglasses (which were arguably the only true Demna motif remarkably present) and essentially versatile puffy pumps all made multiple appearances. The Le City bag, which has risen like a phoenix from the ashes as one of the most zeitgeist-y bags of the decade, made its first-ever runway appearance, cast in mulled fuchsia and lapis-washed calfskin.
Amidst the spar of Cristóbal Balenciaga’s legacy as a master couturier and Demna’s ultra-contemporary cultural ethos, Piccioli has struck a compromise: opening with a lengthy variation of the iconic sack dress, Balenciaga’s most signature forms were played upon with conviction. The house motifs of bubbled hemlines made multiple appearances, notably a cropped ballgown skirt in tourmaline satin. Leather T-shirt tops cropped at the breast seem to simultaneously seem to elegize Cristóbal’s capelets and Demna’s presentation of oversized garb. If there is anything Piccioli made novel, it was an exceptional color palette. Just as Piccioli’s monochromatic “Pink PP” collection became a hallmark for Valentino, it’s likely he’ll make a color signature during his time at Balenciaga, and he’s warming the testbed: pomegranate rind scarlets, iris petal purples, and electric orange akin to poison dart frog skin were all prominent hues– a distinctly vibrant and terrestrial index.
Piccioli has shown excellent proof of concept for his upcoming couture work under Balenciaga (his first couture collection will show in July 2026); the body of work presented in Summer 2026 exemplifies the unprecedented level of craftsmanship in practice, which will be undoubtedly further iterated upon. Piccioli says he modified gazar fabric (a personal favorite of Cristóbal’s) with a lamiset silk and wool weft to make the fabric less stiff. I was unable to independently verify which exact pieces in the collection use this new textile, but suspect it is the evening gown and babydoll dress homages that dance so effortlessly.
Despite every technical aspect, however, Piccioli has begun to instill a deeply personal philosophy within Balenciaga. In the show notes, he remarked: “For every heartbeat there is a name, a moment, a gesture. This collection comes from that place of love and connection. It is as much mine as it is those who lived with me–in every way. Perhaps with a different pulse, but always with the same soul. This collection exists because we recognized, saw, and welcomed one another.”
It is here that Piccioli introduces the spine of his ideology: humanity. I highly encourage you, dear reader, to watch the video of the runway presentation, as it is impossible to encapsulate the spirit of Piccioli’s garments without seeing the movement they implore; they cannot simply exist as paintings within frames, they must be embodied to bloom in their full austerity. Feathers oscillate with every inching movement of the waist, skirt hems bob as if they are traversing ripples of air. It is a remarkable ode to the relationship between the garment and the owner.
Piccioli’s first collection under the house is perfectly distilled as such– the central nervous system of Balenciaga’s legacy: Playfulness in silhouettes, presentations, color, and an expertly laid framework for a new generation of design at the house. His Balenciaga has been stripped of spectacle, but not with malevolence towards Demna’s legacy– rather attestation that Balenciaga remains steadfast amidst change, controversy, and the trend cycle operating at terminal velocity. Balenciaga is first and foremost a cornerstone cultural institution, unwavering in quality and capability. In an industry constantly demanding more, Piccioli is willing to take his time. But he isn’t slowing down. He’s just changing gears.
Words by Coulter Clifford
Graphic by Rose Davis