Since then, Tron has been as good as his word. His Atlein (which he’s putting on pause) is built on his technical skills – he drapes everything on a mannequin, expressing everything in three dimensions. And his consummate research and thoughtful, sensitive storytelling has variously alighted on: the ’90s, social activism, futuristic eco-tech fabrications, radical art, and the emotional and mental succour to be had from riding the waves (he’s an ardent surfer in California, or in his beloved Île de Ré in France). Through everything he has exalted women, and the responsibility that comes with dressing them.
All of which brings us to Balmain. In his statement, Tron rightly pays tribute to the immense and incredible legacy that Rousteing left after his remarkable transformation of the house. “I wish to express my gratitude to Olivier Rousteing,” Tron says, “for building Balmain into the global brand it is today.”
Atlein AW25.
Photo: Courtesy of Atlein
Atlein SS22.
Photo: Courtesy of Atlein
As for Tron’s Balmain, what can we expect? To have access to its studio and to its craftspeople and technicians will be a dream for Tron, having valiantly created his own collections for years now without those kinds of resources. He’s someone who’ll continue to think about designing for women, now from a historic house, but still through the lens of today, while also understanding that clothes have to be in conversation with who those women are, and what they want, and how they choose to express their femininity, their bodies, their gender and sexuality, in ways that are anything but cartoon-y or cliched. And there will be surprises, I am sure. When I chat with Tron backstage, I come away not just with sound bites, but also some new and unheard of reading material to dive into.
Tron is a thinker, and a feel-er, and a do-er – and suddenly, the stage for him, thanks to Balmain, has just gotten a whole lot bigger.
