This substantial pre-fall collection for both sexes was built around two key themes. The first referenced Rousteing's personal relationship with the company, while the second made fun of Pierre Balmain, the brand's creator. 

The richly directional sense of luxury that Rousteing has produced with his house's reborn workshop was repeated in the sculpture-like womenswear and menswear highlighted by military frogging and structural facades of crystal. The rebuilt shoulder pads appeared to be a nice homage to Christophe Decarnin, who gave Rousteing the ability to fill his shoes. The height of the platforms represented Rousteing's continuous goals for the house.

“I really want to dig and go deeper into the archives of the house,” he said, noting that many of the brand codes he’s exalted — among them gold buttons, strict tailoring and the Labyrinth monogram — are rooted in decades-long past. “It’s interesting to go back to the past and understand all what went through the house and where we are today.”

Why concentrate on the '60s and '70s?

Rousteing claimed that the glitz of the era, when the founder abandoned "Jolie madame" clothes in favour of slinkier, sharper, and more global looks, captivated him.