The Art of Self-Expression Through Fashion
Dissecting the Renaissance Couture collection by Beyoncé x Balmain. A perfect intersection of fashion and music.
Balmain … a powerful French luxury house that I’m sure we all know about. But let me not assume, I’ll give a brief background first.
Since its conception in 1945 in post-war Paris by Pierre Balmain, Balmain set itself on a path to revolutionize the French style through liberating styling concepts, such as incorporating curve-enhancing silhouettes into the mix.
Today, Balmain is known for its glamorous and opulent aesthetic, combining classic French couture techniques, while adding a distinctly modern edge. The brand’s signature style includes sharp, tailored silhouettes, intricate embellishments, and bold prints, such as animal-like motifs or military-inspired details.
Under the creative direction of Olivier Rousteing since 2011, Balmain has continued to evolve, pushing the boundaries of traditional luxury fashion with daring designs that embrace youth culture and incorporate streetwear influences. Cultivating a loyal following, often called the “Balmain Army”, Balmain continues to disrupt traditional luxury fashion.
And in true disruptive fashion … the Balmain surprise-dropped a couture collection co-designed with its long-time muse, Beyoncé, that had the internet in a frenzy. Each piece was strikingly distinctive and avant-garde, which immediately caught my eye. I immediately thought “This is my niche.” At the risk of sounding dramatic, when I saw this collection, I felt a sort of rebirth.
Suitably named, Renaissance Couture by Beyoncé x Balmain is not just a collection of clothing, but true art pieces. In fact, these are pieces that belong in a museum. I’ve always seen fashion as a tool for self-discovery and freedom and when seeing these designs, I got the sense that Beyoncé had found the right partner to help her bring to life designs that truly emulate her creative, unique, bold, and inventive persona.
What’s even more remarkable about the collection is that each design was inspired by a track on her RENAISSANCE album. The album harmoniously blends brilliant lyrics and experimental catchy beats to create music that frees us from societal norms, makes us feel confident, and inspires us to think outside the box— this collection encapsulates all those qualities. It is a stunning example of how music and fashion can come together to create something truly extraordinary.
Today I decided to do a fun article. As I was going back to the collection, I kept thinking “What does each design mean to me?”. Keep reading to see how I interpreted each design in correlation to the song it was inspired by.
Which design is your favorite and how did you interpret it?
From the top of the morning, I shine
Right through the blinds
Touching everything in my plain view
And everything next to me gets lit up, too
You see it, yeah
You see it when you look to me
I didn't want this power (I ain't want it)
I’M THAT GIRL — Track 1.
This song sets the tone for the whole album. Overall, Beyoncé lets us know that she’s aware she’s the main attraction and she never needed highly sought-after and expensive material things like diamonds & pearls to communicate her worth. Her hard work and diligence coupled with her natural aura are why she is at the level of power that she’s at today.
I’M THAT GIRL — The Outfit.
This outfit cleverly depicts the song through the design of a “Sun-Meets-Crown” metal bustier sculpted by artisan metalworker Elie Hirsch, and matching spike bracelets. Model Xue Huizi also wears a pareo skirt and gloves in black nappa lamb leather.
The simple yet not-so-simple nature of this first design was the perfect direction to go. The base is minimalistic with the main attraction being the metal bustier in the design of a sun, which directly connects the meaning of the lyrics above to the outfit.
Like the sun, this outfit should make the wearer feel that she naturally shines, and doesn’t need anything extra to make her stand out.
Confident, damn, you lethal
Might I suggest you don't f*ck with my sis
'Cause she comfortable
Comfortable in my skin
Cozy with who I am
COZY — Track 2.
Cozy is a self-love anthem. It is a song about explosive pride and self-confidence. Beyoncé tells us that despite the fact that some of her experiences have left her with scars, she still loves herself wholeheartedly, and she loves the scars because they remind her that she can get through anything. She’s proud of everything she is and reminds us to love ourselves despite the negative things that people say.
COZY — The Outfit.
The spirit of this song comes to life through model Ebony Riley wearing a cozy black velvet dress artistically plumed with pink feathers— referred to as the “Feu d’artifice” (fireworks) dress. The explosiveness of the pink feathers directly correlates to the explosive sense of pride the artist describes in the song. The model is completely enveloped in these firework-like feathers and it is the one thing that stands out. She’s proud of who she is and she’s not afraid to let the world know it and see it.
Mastermind in haute couture
Label wh*res can't clock, I'm so obscure (unique)
We dress a certain way, we walk a certain way
We talk a certain way, we-we paint a certain way
We-we make love a certain way, you know
All of these things we do in a different
Unique, specific way that is personally ours
ALIEN SUPERSTAR — Track 3.
To fully grasp this song, one has to adjust their state of mind to that of superstardom. Beyoncé fully embraces the legendary Ballroom culture that originated in New York City as she narrates this moment of eminence that she feels through complex lyrics and puns that transport us to another world. Ultimately the song is about a super-confident woman who is unique in all aspects— fashion, style, mannerisms— and is fully aware of her power. She reminds us that we should embrace our uniqueness because that is where our true power lies.
ALIEN SUPERSTAR — The Outfit.
As many are mesmerized by this song, the co-designers made sure to make this design just as mesmerizing. This 3D structured gown, modeled by Kerolyn Soares, features airy wings, and hip extensions, and is wondrously embellished with crystals all over. All these elements come together to make a standout and unique piece that can only be pulled off by an Alien Superstar.
Big wave in the room, the crowd gon' move
Look around everybody on mute
Look around it's me and my crew
Big energy
ENERGY — Track 5.
Similar to many of the tracks on RENAISSANCE, ENERGY exudes a hypnotic aura. This track stirs up confidence within oneself. The most infectious element of this song is its ending, where it returns to the chorus, and New Orleans bounce legend, Big Freedia, chimes in with rhythmic belts that make us want to get on the dance floor. It is clear that Beyoncé knows she commands immense power.
ENERGY (01) — The Outfit.
To depict this sense of power, model Akuol Deng Atem wears a macrame gown crafted from a mix of multiple black silk, velvet, rayon, and patent-leather threads, woven and knotted together by the French artist Laurentine Périlhou. The bodice is embroidered with black-dyed pheasant feathers crafted by Maison Fevrier, the last feather atelier in the world, located in the heart of Paris.
The gown commands attention and radiates intensity.
You know that we do it grande
You know that I'm gon' be extra
When that camera go pop-pop-pop-pop-pop-pop
ENERGY (02) — The Outfit.
An overflow of ideas clearly inspired the co-designers to create not one but two designs.
Model Ebony Riley wears a gown embroidered with a pattern inspired by traditional African hair braiding, which was created with yarn braiding techniques. This was crafted by the Balmain Houses’ talented team of artisans. This design encapsulates the complexity of the song through its intricate design technique. To top it off, the gown is accessorized with mega-braided earrings.
The powerful nature of the song is emphasized by the gown’s rounded shoulders and hips. It creates a broader, more imposing silhouette, which makes the model appear larger and more dominant. It also suggests confidence and authority.
Got motivation
I done found me a new foundation, yeah
I'm takin' my new salvation
And I'ma build my own foundation, yeah
BREAK MY SOUL — Track 6.
This track is a celebration of 80s House music in which Beyoncé revealed that it is meant to make us want to “release the wiggle”! BREAK MY SOUL rejects the societal norm of working a 9-5 just to stay alive. Her stance on hustle culture is this: break free, find a new drive, and build your own foundation. It’s a call to action. She’s urging us to reevaluate our view on work culture because that can’t be all life’s about, right? Once you reach this state of detachment from the unhealthy structures that society has put in place, you’ll find true freedom.
BREAK MY SOUL — The Outfit.
To bring this message to life, model Akuol Deng Atem wears a maxi hooded dress draped over with shiny black velvet and paired with a trompe l’oeil bustier, suggesting a nude torso, electroplated in black chrome. Power and protection are built into the design concept. The body is protected and covered by the dress while the broad padded shoulders coupled with the model’s assertive stance, exude the power she knows she holds once she’s rejected these societal norms.
I'm warning everybody, soon as I get in this party
I'm gon' let go of this body, I'm gonna love on me
Nobody can judge me but me, I was born free
CHURCH GIRL — Track 7.
When I first saw the song CHURCH GIRL on the album’s tracklist, I never would have guessed what its actual message would be. This song is an anthem about female liberation. Beyoncé talks about the life challenges she’s faced, but fortunately, she didn’t stay in that dark place forever. She became liberated when she started practicing body positivity and self-validation. She encourages us to ignore society’s opinions and live life on our own terms to reach true liberation. She is basically preaching a sermon to us.
CHURCH GIRL — The Outfit.
In the spirit of liberation and living life on your own terms, the co-designers created a design that reflects the self-confidence talked about in the song. This design is so unique in nature and is for the woman who is confident and free in her choices. Model Memphis Murphy wears a black-and-red velvet cape coat with a metallic belt and a 3D-printed electroplated chest bustier in silver chrome. My favorite part of this design is the record-inspired, two-tone, flat, circular hat, which is perfect as the song encourages us to get on the dance floor and “shake that ass and them pretty tig ol' bitties”. Ha!
I love the little things that make you, you
Ooh, the rest of the world is strange
Stay in our lane, just you and me, and our family
I think you're so cool (even though I'm cooler than you)
PLASTIC OFF THE SOFA — Track 8.
This beautiful love song is all about being comfortable with your other half. Beyoncé sings a melodic ode to her husband and tells him all the little things she loves about him. It is clear that she feels 100% comfortable with him and can just be herself around him without feeling judged.
PLASTIC OFF THE SOFA — The Outfit.
This sultry love song is channeled through a bustier dress built around a pink chrome inverted bow, a nod to Pierre Balmain’s inventiveness in designing couture silhouettes through ingenious twists on bow sizing, shape, and placements. This design was worn by model Xue Huizi, and crafted by the Balmain Houses’ team of artisans.
Its silhouette is sensual, with curves at the hips and a deep V neckline. The luster of glossy pink chrome fabric emulates the protective slipcovers that are sometimes added on sofa coaches, which are popular in some households. The inversion of the bow emphasizes that the slipcover is on its way out— a metaphor for the feeling of comfortability that Beyoncé has with her partner.
Baby, come over
I can be the one that takes you there
On this magic ride
VIRGO’S GROOVE — Track 9.
This disco-infused sex-positive song talks about shared intimacy. As the longest song on the track, it definitely doesn’t disappoint and neither does the design it inspired.
VIRGO’S GROOVE — The Outfit.
Olivier Rousteing rightly states “For a siren song like that, we knew that it was time to turn up the heat, so we created sleek lines that flow around beautifully exposed shoulders.”
Model Amber Later wears a Corolla gown and “second skin” in dusty pink velvet. Sculptor Elie Hirsch is responsible for crafting the neckline of this design, referred to as his “metallic décolleté”. The design is accessorized with a vintage Balmain hat reinterpreted in hammered metal, a twist on Pierre Balmain’s most iconic couture hat designs.
Move out the way
I'm with my girls and we all need space
When the queen come through, part like the Red Sea
MOVE — Track 10.
Performed by Beyoncé, Grace Jones, and Tems, MOVE is another empowerment song for us women. This is the first song on a Beyoncé studio album to feature two other female artists, and these three did not come to play. The trio is ultimately telling us to go out into the world confidently and take our power. An exploration of a mixture of afrobeats, funk, and bounce, this song incorporates elements such as a hard-hitting bass and intense chanting in the chorus to instill in us the feeling of assertiveness that is flowing throughout the song.
MOVE — The Outfit.
To capture this theme of dominance, the co-designers relied on the Balmain Atelier’s draping expertise to create a “thermo-strass bleu-gitane” hooded jersey dress. To top off the look, a matching “thermo-strass corne” headdress was added. This royal blue dress is modeled by Fashion Labeija.
Signature padded Balmain shoulders are added to this design to give an air of strength and confidence. The hat addition is meant to reference the campy & iconic styling of fashion maverick Grace Jones in the 80s. When I first saw this design, I immediately thought of her outfit for the 1983 Grammy Awards.
Fan me off, I'm hot, hot, hot
Like stolen Chanel, lock me up in jail
Cuff me, please, 'cause this ain't fair
Dripped in my pearls like Coco Chanel
Uncle Johnny made my dress
That cheap Spandex, she looks a mess
HEATED — Track 11.
Heated, my personal fave, is a braggadocious track where the artist declares her self-worth. She pays tribute to her late gay cousin/ godmother, Uncle Johnny, who she once referred to as “the most fabulous gay man she has ever met”. I particularly love the chanting towards the end of the song where she says “Uncle Jonny made my dress
That cheap Spandex, she looks a mess”. This line is in reference to Beyoncé’s early career, where Uncle Jonny would help her mom create and sew some of her designs. She calls out to his fabulous fashion sense.
HEATED — The Outfit.
Olivier Rousteing says of Beyoncé, “HEATED was actually one of the reasons I was inspired to reach out to her, to see if she would be willing to build upon that beautiful family history and co-design this RENAISSANCE couture collection with me.”
Inspired by the message in the song, a black velvet gown and Balmain vintage hat that was thermoformed and then set with crystals, was created and modeled by Mamuor Awak. The choice of outfit production directly relates to the song title, as thermoforming is the process of heating a material and shaping it in a mold. The model, and his poses, were perfect for this design as they accurately portray the fabulousness of Uncle Johnny.
That's that thique, that's that real shit
That's that jelly, baby, champagne and cherry, baby
THIQUE — Track 12.
There’s no hidden message in this song, the title gives it away, as I’m sure it was meant to. Plain and simple, this song is an homage to all the thick and curvy women out there. Beyoncé tells us to love and own every aspect of our bodies. This message comes as no surprise though, she has always celebrated curvy bodies, stemming back to the hit Destiny's Child's single “Bootylicious”.
THIQUE (01) — The Outfit.
It seems that the co-designers were inspired by the beauty, extravagance, and fullness of Parisian chandeliers when creating the design inspired by this song. Turning a chandelier into an outfit is very couture-esque! This design is very fitting for this song and album as it references Ballroom culture.
Model Shanelle Nyasiase wears a hammered brass and crystal pendants illusion bustier. Underneath is a black-velvet bodysuit and a black-velvet turban is added as a headpiece. The ensemble is accessorized by tassel chandelier earrings. Love the model, but perhaps a “thique” model would have hit the message home.
That's that freaknik, that's that 1996
That's that moon Miami bass, 12 in the trunk 808
Uh, that's that Castro, eat that shit like Mastro's
She say she on a diet, girl, you better not lose that ass, though
THIQUE (02) — The Outfit.
Thique design two is modeled by Kerolyn Soares. The idea is the same as Thique design one, except the model is wearing a metal and crystal reversed-chandelier illusion skirt.
Both designs pay homage to all kinds of thique women, whether you’re top-heavy or bottom-heavy. They hammer home the message that our bodies are beautiful in their own unique ways, and we should celebrate them, as these designs do.
I try to get all up in your mind
It stops at a crime that I wanna make you mine
ALL UP IN YOUR MIND — Track 13.
When initially listening to this song, the blend of the heavily distorted bassline with robotic synths coupled with the name of the song gave me the feeling that Beyoncé was trying to cast some sort of spell. It felt very hypnotic. In this track, she talks about longing for someone who isn’t reciprocating her same feelings, but in the end, they fall for her.
ALL UP IN YOUR MIND — The Outfit.
Like the song, this outfit is a tribute to Ballroom culture. Olivier Rousteing states “Beyoncé and I dreamt up this exuberant trompe l’œil as a loving tribute to New York’s legendary ballroom scene.” This design is an optical illusion that conveys the hypnotism displayed in the song.
Model Hanne Gaby Odiele wears a feather-embroidered top constructed like a fan, incroyable! Paired with a black velvet and satin bodysuit and medium-length black satin gloves, it’s perfect for dramatic flair in a Ballroom.
When I step on the scene they
Can't wait to back it up
Your ex-dealer dope, but it ain't crack enough
I'm supplyin' my man
I'm in demand soon as I land
Tony Montana with the racks
Ivy P on my bag, double G's on my dash
Nigga, I'm bad, I'm bad (tell me when you wanna get high-igh-igh-igh)
Boy, you can't get no higher than this
AMERICA HAS A PROBLEM — Track 14.
In this track, sampling rapper Kilo Ali’s hit song “Cocaine”, the artist is hyping herself up big time! This song is an ode to strong Black women of substance. A true bad b*tch anthem. When seeing the title of this song on the tracklist before the album dropped, many thought it would be political…and it kind of is. America has a problem and Beyoncé seems to be referring to herself as the problem— a powerful Black woman in America…of all places.
AMERICA HAS A PROBLEM — The Outfit.
To convey this message, the co-designers designed an attention-grabbing crimson velvet draped jumpsuit with a 3D-printed bustier electroplated in gold chrome. Red is an energizing and intense color. It is dominating and can give confidence to those who are timid.
The ensemble is masterfully modeled by Fashion Labeija.
Bad b*tches to the left
Money b*tches to the right
You can be both, meet in the middle, dance all night
Take it all off or just a little if you like
It's pure
It should cost a billion to look this good
But she make it look easy 'cause she got it (check my technique)
PURE/HONEY — Track 15.
This track samples Kevin Aviance’s (an icon of ballroom culture) “C*nty” alongside MikeQ’s “Feels Like” featuring Kevin JZ Prodigy, and ends with a sample of drag legend Moi Renee’s “Miss Honey”. This track effortlessly blends house & pop music creating an ultimate two-part club bop.
Beyoncé celebrates female empowerment and sensuality throughout the song. In the chorus, she sings about how women should own their worth and find joy in being desired and desiring. Overall, this song tells us it’s possible to have it all.
PURE/HONEY — The Outfit.
Bringing PURE/HONEY to life, the Houses’ artisans created a bold and loud black & white graphic ensemble embroidered with sequins and feathers.
Black/White = Pure/Honey.
The ensemble consists of “psychedelic, harlequin, marinière, and zebra patterns”. Again, the legendary Maison Fevrier was tapped to create the feathering. The outfit is paired with a shimmering white corset, draped earrings in metallic mesh, and a black jersey turban, exquisitely modeled by Jesus Maria. Like the song, all these distinct elements come together harmoniously to create an unconventionally beautiful piece.
The maximalism of this design is for a person who wants and has it all.
Applause, a round of applause
—
So elegant and raunchy, this haute couture I'm flaunting
This Telfar bag imported, Birkins, them shits in storage
I'm in my bag
SUMMER RENAISSANCE — Track 16.
For the finale of this album, we have SUMMER RENAISSANCE, a euphoric disco love song sampling disco legend Donna Summer’s “I Feel Love”. A perfect ending to this album as the incorporation of high-notes and applause sound effects sounds like an ovation and tribute to a disco legend, giving you a celebratory feeling. This song is like a comeback of sorts, a rebirth of Donna Summer’s music style of the 70s.
SUMMER RENAISSANCE — The Outfit.
Embracing the disco spirit of Donna Summer and her fashion sense, the co-designers designed an extravagant ensemble embroidered with “lurex fringes, crystals, and rhinestones”.
The disco era was a time when people showcased their wealth and extravagance through the excessive use of sequins and glitter, in order to stand out. Also, disco culture was all about self-expression and individuality, and the use of sequins and glitters allowed people to create their own unique looks and express their personalities through fashion.
The use of the materials in this design creates a festive and celebratory atmosphere, which was an essential part of the groovy disco scene. This strapless dress and cape modeled by Dominique Silver is definitely a standout piece and emulates disco culture perfectly.
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WOW!!!!!👌🏽👌🏽👌🏽