Crochet The Runway : Balenciaga's 50s ruffle evening gown

In my previous article in this series, I mentioned that Paco Rabanne's mother worked as the chief seamstress for Balenciaga. Naturally, my mind wandered after that, and I thought about one of my favourite Balenciaga designs: a ruffle evening gown from 1951.

Of course, when we think about Balenciaga nowadays, it is far from subtle, refined, and… elegant. The fashion house has played the shock factor repeatedly, favouring designs that are oversized or exaggerated. It also didn’t help that these designs were often worn by the likes of Kanye West. We are a far cry from the refinement, mastery of shape, and creativity that defined Cristóbal Balenciaga's original style.

The original Balenciaga house opened in 1937, quickly gaining a following from royals and Hollywood stars. It closed in 1968, though the brand still remains active today.

Cristóbal Balenciaga was a highly respected designer, admired by Christian Dior. He referenced Velázquez’s paintings and bullfighters’ costumes (toreador), particularly their capes and pompoms (borlones). Knowing this, the Spanish influence in the evening dress we're discussing today becomes obvious.

Looking at the shape of the dress, one can also recognise the influence of French painter Henri de Toulouse-Lautrec, especially his many depictions of Montmartre’s dancers and entertainers.

Why This Dress Stands Out

This particular dress is special for two main reasons:

1. It is sober yet slightly scandalous.
   In the 1950s, etiquette forbade having your arms uncovered before 8 p.m. However, the growing popularity of cocktail gatherings between 6 and 8 p.m. made this rule increasingly obsolete, as sleeveless, bustier designs proliferated - often worn with gloves and matching scarves.

   
   

2. It is sculptural.
   The construction of this dress is exceptionally beautiful. The bell-shaped skirt is perfectly balanced to reveal three layers of pink silk ruffles. The bust follows the model’s body like a second skin, and numerous technical details in the stitching and construction ensure the dress moves in a flattering manner.

I would never dream of being able to replicate this absolute masterpiece but I can perhaps try to capture its essence.

Translating Couture Into Crochet

So what makes this design iconic? The colour contrast, the bodycon bustier silhouette, and of course, the layered ruffles.

To interpret it in crochet, I would likely use elastic thread to ensure a close, bodycon fit. I’d make a tube dress in black, working from the top down and adjusting the stitch count to accommodate the hips. I’d start increasing around the knee, increasing more at the back to create that signature bell shape.

The main challenge would be the structure. Crochet alone probably won’t hold the shape unless very stiff yarn is used - but that could look bulky and awkward. I’d stick to 4ply or DK weight at most. For reinforcement, I could insert boning or crochet onto a plastic hoop at the bottom to anchor the bell shape.

To recreate the pink ruffles, I’d work them in separate rounds from the inside of the skirt. Surface slip stitching could attach the pink yarn (ideally a mercerised cotton for sheen) to the black base. I’d be very mindful of the length and layering to echo the look of the original dress.

Looking through Etsy, I found a pattern that could help: the muslin dress.

To shape the neckline into a heart silhouette, I might thread yarn through the top row for shaping, and sew in padded cups for structure.

Yarn Options: