Darkness by Design | Part 1: Baalenciaga (2024) – Full Documentary by Dauntless Dialogue

Why does high fashion seem so demonic? Why are some of the world’s largest brands attempting to normalize pedophilia? 

DARKNESS BY DESIGN , written by Ryan Delarme and produced by Dauntless Dialogue investigates the occult ideology that has subverted famous fashion brands like Balenciaga.

From what one can see about the owners and the market for luxury brands, this industry is essentially by-, of- and for the aristocracy and for those who aspire to be like them.

What very few of those who aspire to be like them understand is that the majority of aristocrats are Luciferian, to some degree – even if they are not full-blown Satanists, practicing their spirituality covertly.

The signs and symbols of Luciferianism and of Satanism are not easily-discernible, when one knows nothing about these topics.

When you say “aristocracy”, what you’re essentially referring to is the Black Nobility, which is the base of the Globalist crime syndicate that controls this planet.

This Globalist crime system is highly-compartmentalized. What appears to be many separate entities that are at war with each other are actually one interlocking criminal system that is Satanic.

You’ve doubtless heard about “Them” controlling both sides of every conflict, right? “Two wings of the same bird, same sh!t”? Don’t you want to understand how this works?

The word “Satanism” evokes a pretty strong reaction in most people, regardless of their spiritual beliefs. Atheists believe the entire concept of Satanism is ridiculous, hysterical and idiotic and not worthy of any consideration, whatsoever. They disregard the fact that there are very powerful Satanists in the world who actually believe this stuff and that they act on their beliefs, regardless of what Atheists believe.

What I’ve learned from taking at run at this topic is that Atheism is actually Satanism Lite.

Atheists have been convinced that they have no souls. Atheists can only see what they want to see, because they are materialists and are thereby Service-to-Self by default, no matter how much they virtue-signal. Actually, this desire to constantly virtue-signal is to compensate for their denial of the existence of their own souls.

Full-blown Satanists, on the other hand willfully choose to give up their souls.

What we learn from Kerth Barker is that there are as many levels and expressions of Satanism as there are of all other religions and spiritual practices that we see in the multiplicity of sects and forms of Christianity, Judaism, Islam, Hinduism, Buddhism, etc.

What differentiates the various Satanic practices from these other practices listed above is that the former tend to be highly-compartmentalized and secretive. This is why Atheists don’t understand that they are actually Luciferians. This is why we don’t generally think of Nazism as a Satanic belief system, when that is exactly what it is.

Now, think about everything happening in Ukraine.

Think about the biggest human-trafficking operation in human history, now unfolding at the US Southern Border, which is eclipsing the scale of Atlantic Slave Trade, especially, when you consider that it is enslaving not only the tens of millions of those trafficked but also the hundreds of millions of US Taxpayers forced to pay for all of it.

As the mystery document reproduced HERE states, all cults, including the following are part of this Globalist, Luciferian and/or Satanic criminal system:

“Royalty itself, Royal Institutions, The Society of Jesus, The Black Monks, The Hellfire Club, The Templar Orders, Freemasonry, The Grand Orient of France, The York Rite, The Scottish Rite, Prince Masonry of Prince Hall, Shriners International, The Royal Order of Jesters, The Cabal Society, Chabad, Scientology, Skull & Bones, The Boulé Society, The 5% Nation, The Nation of Islam, Black Israelites, The Ordo Templi Orientis (OTO), The Temple of Set, The Church of Satan, Rosicrucian, Golden Dawn, Opus Dei, Mormons, Knights of Columbus, The Bohemian Club, Knights of Phintias, Ancient Order of Druids, Wicca, Santeria, Obeah, Voodoo, Sufism, Greek Fraternities and Brotherhoods, New Age and Gnostic Cults, Nazi Cults, KKK, Mafias, Prison Gangs, Biker Gangs and Street Gangs.”

In other words, the Mexican drug cartels are working with the United Nations, the NGOs, the CIA and the US military to traffic humans into the US, in order to steal billions of US Taxpayer Dollars per year to feed, transport, house, educate and to provide healthcare for trafficked individuals, while simultaneously collapsing, genociding and stealing the Nation, itself. All of the above-named groups are part of this One World Globalist Satanic Crime System, which includes you, reading this right now.

The drug cartels and the UN, the US Military, etc are all working together, as has been amply demonstrated by Muckraker.com, Todd Bensman and by many others.

So if the world is controlled by Satanists, wouldn’t it behoove us (no pun intended) to understand the underlying philosophy of those who are actively working to destroy us and othes around the world with our own Tax Dollars?

I think it would! We have a major Satanism problem on our planet and I think that discussions about Satanism need to be normalized and that’s why I read the excellent book, ‘Cannibalism, Blood-Drinking and High-Adept Satanism’ by the late Kerth Barker.

Despite growing popular awareness that the world is controlled by Satanists, most people shy away from the topic of Satanism, itself, because it’s disgusting and they don’t want to fill their mind with aberrant ideas. However, I believe that we avoid this topic at our peril.

Some may worry that if they focus on the subject, they may attract bad luck or become victims of demonic attack or otherwise become despairing about life. I found the opposite to be true.

We’re already living in Hell, so how did we get here? I found the information to be liberating. It was such a relief to finally understand the under-girding philosophy of everything that’s going on.

The depopulation agenda of the Globalists, including SARS-CoV-2 and the mandated vaxx, the poisons in our food, Big Pharma, water fluoridation, etc are 100% Satanic.

This is the “Permanent Kill Box” described by Katherine Watt.

What happened in Western North Carolina is described in a chapter in Barker’s book, “The Roach Motel Model for the Illuminati Depopulation Agenda,” which is exactly how it felt in Asheville, with no ability to buy water, food or gas, plus no electricity, running water for several weeks and very limited telecommunications.

There was zero “response”, besides gas stations and grocery stores putting yellow tape across their entrances – and this, only after 48 hours of total infratructure collapse.

I heard police and fire engine sirens yesterday and I realized that it was absolutely silent in Asheville for days during the outage. There were no sirens, indicating any emergency that I could hear. There was no EMF, either, which I have to admit was kind of nice. Everything just stopped.

Many readers may have have heard about “Frazzledrip”, the alleged video discovered on the laptop of former New York Congressman Anthony Wiener, the ex-husband of Huma Abedin, Hillary Clinton’s longtime personal assistant. The video is said to feature Hillary and Huma slicing off the face of a 13 year old girl and wearing it as a mask, in front of the girl, in order to taunt her and to further adrenalize her blood, before they would then, drink her blood and eat her brains – a ritual that is described over and over by survivors of Satanic Ritual Abuse.

It’s impossible to imagine how anyone could ever do such a thing, let alone to do this repeatedly and enthusiastically. Kerth Barker says that, while these Satanists are certainly dangerous, they are not the tier of Satanists that we really need to worry about.

He says that the most formidable category of Satanists are what he calls the “High-Adept Satanists”. They are polished and polite and they wear fine clothing and they are not violent, nor are they cannibals. However, they have devoted all of their spiritual energies to connect directly with “Satan”, who Barker suspects is some kind of a Grey Alien or Reptilian or something, for which we don’t have the proper words to express.

High-Adept Satanists are at war with Creation, itself. This is interesting to me, because I recently stumbled upon and published a video by Cyrus Parsa about the AI Agenda,

Parsa refers to Artificial Intelligence as a tool that has been used for millennia by malevolent beings to conquer planetary civilizations. The animations in his video portray them as classic Grey Aliens but he refers to them simply as the “Garbage of the Universe”. Moreover, he says these malicious entities are fully in control of the Chinese Communist Party, from whence they currently project the bulk of their power on this planet.

He fails to mention that the Rockefellers (aka Black Nobility) and the US Government have been 100% complicit in enabling the fearsome threat known as the CCP but I suppose that would be a whole other video.

The AI Agenda is one and the same with the Globalists’ widely-advertised Transhuman Agenda; the self-same Singularity they’ve been telling us about for decades.

Two years ago, at Davos, Nokia CEO, Pekka Lundmark proudly anounced that by 2030, smartphones will be obsolete. He said that by then, the most common interface of this technology will be “built directly” into the physical body. No big deal, right? We’re already glued to the damned things, we might as well cut to the chase!

The Globalists are working toward a world of digitized posthumans that can colonize Outer Space. The flesh is weak, Baby!

This marketing of “digitized posthumans” “colonizing outer-space” is just a baby step toward what the High-Adept Satanists really want, which is to end all humans and eventually, all life in the Universe, where there will be nothing except The Void.

These people are such demonically-possessed, egomaniacal materialists, they pretend not to understand that the Pralaya, the “Night of Brahma” of Hinduism is always happening, outside of linear spacetime – or linearly, with a spacetime periodicity of 4.32 billion years.

Existence and Non-Existence. Creation and The Void. High-Adept Satanists can’t change that into ONLY The Void, forever, no matter how hard they try – but one can understand why some people want to escape or “ascend” out of 3D into 5D, out of polarity and away from these demons. It’s about time.

Kerth Barker says:

“What makes humanity vulnerable to the attack of these beings is that our species has denied its spiritual development as well as its psychic awareness. Consciousness is a very powerful force, but much of the human race is sleepwalking in a semi-conscious state, obsessed with materialism and consumerism.

“So this is why humanity is an easy target for the High-Adept Satanists. The simple fact is that if we don’t develop our psychic abilities and spiritual awareness, the High-Adept Satanists will destroy us.

It is said that one third of the angels fell with Satan. It is also said that Satan can only see 33º of All That Is and that Satan can see only what he wants to see. This is also known as Narcissism, which clusters with Sociopathy and Psychopathy.

This explains the insane lack of self-awareness among Luciferians – as seen in the Globalist Left – and why they can’t even begin to fathom why anybody would vote for Trump’s pro-prosperity over Kabala’s death and dissolution.

This film shows you the visuals and the aesthetics of Satanism, with the takeover of Balenciaga, once the greatest fashion design house in the world.

After Balenciaga’s death in 1972, his estranged nephew sold the company to the the Nazis at Hoechst AG, whose managers had been prosecuted during the Nuremberg trials for their use of slave labor and for testing drugs on concentration camp prisoners.

In 1986, the company was sold again to Kering, a luxury brand now catering to the Black Nobility and wannabes.

In 2015, Kering hired its new Creative Director, Demna Gvasalia, with his tag-along muses, Lotta Volkova and Gosha Rubchinskiy. All three were victims of the post-collapse Soviet Union and that is the aesthetic that you are looking at.

In 2015, Kering hired its new Creative Director, Demna Gvasalia, with his tagalong muses, Lotta Volkova and Gosha Rubchinskiy. All three were victims of the post-collapse Soviet Union.

That is the aesthetic that you are looking at. That is the collapse, which the One World Globalist Satanic Crime System wants to inflict upon all of humanity – just like they did to the Soviet Union, before.

Demna once wrote in an Instagram post that, “Lotta, Gosha and I grew up on child pornography and radiation from Chernobyl, which is why we’re so f***ed up.”

The Black Nobility eats this sh¡t up and they want you to eat it, too – and to spend $3,050 for these ridiculous boots!

Support Ryan Delarme and the great independent filmmakers at Dauntless Dialogue here.

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TRANSCRIPT

(Roll video of CBS daytime broadcast)

CBS Male Host: This is a week and a half and nobody seems to care that there’s little kids involved in this. I can’t speak to what it’s like to be a Black man, right? I can’t speak what it’s like to be a Jewish woman, but I can speak what it’s like to be a father of two young boys. And that this type of behavior – when I worked at cbs.com out of a little closet my first show, I was like, “I’m going to say this and wear a blue shirt.”

I got 49 emails saying, “Maybe wear a purple shirt and maybe don’t say this, here.”

Don’t tell me this “slipped through the cracks”, when you’re getting a court case that features child pornography! It’s disgusting!

CBS Female Host: It’s disturbing. Thank you for that passionate speech. I feel the same way. In fact, your wife’s the one that brought this whole disgusting campaign – I don’t even want to call it campaign – let’s call it “criminal”.

It is, in my opinion. I don’t know if they’re going to face criminal – any sort of charges – but they should.

Narrator: In late November of 2022, the luxury fashion brand, Balenciaga released what would become two of the most controversial ad campaigns in the history of the fashion industry.

The ads eerily featured toddlers amidst an array of Balenciaga accessories, BDSM Teddy Bears, pedophilic Easter eggs, and subtle nods to old pagan gods, all of which served to heighten the already grown curiosity regarding degeneracy and occultism in high places.

The campaigns drew outrage in the post-Epstein era and came on the heels of loosely-related cultural phenomena, like Pizzagate, Spirit Cooking, Satanic Nikes, the Wayfair controversy, and the general affinity for spiritual darkness in Hollywood.

The sensationalism would eventually wear off, leaving people with the feeling that they caught a glimpse of something important, but were left with more questions than answers.

What was really going on here? Were there deeper implications, or was this truly just the result of poor creative decision-making, as implied by the brand’s creative director?

No, there had to be. The real question for most of us became, how bad is it?

How had Balenciaga, historically one of the most tasteful, refined, and widely respected names in couture, come to this? Balenciaga’s origin story is a classic rags to riches tale. The brand’s founder, Cristóbal Balenciaga, was born in a small town called Jeteria in the Basque region of Spain in 1895.

He began his career working as a tailor’s apprentice at the age of 12, and as a teenager, his work caught the eye of the Marquesa de Casa Torres, a local noblewoman who would become his primary patron, eventually sending him to Madrid, where he’d be formally trained as a tailor. By the time Cristobal turned 24, he’d already acquired an impressive clientele base, was widely held as a prodigy, and had established his own couture boutique in San Sebastián. His clientele at the time was mostly Spanish aristocracy, and even members of his royal family.

The Spanish Civil War would eventually force him to relocate to Paris, where he would establish the very first boutique with the now-iconic branding, Balenciaga.

It was at this time, that the designer fashion industry was really reaching a new zenith, with many of the names we recognize today coming into prominence, such as Parisian brands like Dior, Chanel, Louis Vuitton, and the much older Hermès, as well as Italian brands like Gucci, Prada, and Fendi. But Balenciaga was particularly revered and admired, even among his competitors.

The legendary French designer, Christian Dior, said this of his rival, “Haute couture is like an orchestra, for which Balenciaga is the conductor. The rest of us are just musicians following the directions he gives us.”

Coco Chanel, another iconic founder, shared similar admirations, saying, “The only true couturier amongst us, able to design, cut, assemble, and sew a dress entirely by himself.”

At the height of his career, Cristóbal was widely seen as a true master of his craft. He inspired up-and-coming designers, like Oscar de la Renta and Hubert de Givenchy, boasted clientele such as Mona von Bismarck, Gloria Guinness, Grace Kelly, Ava Gardner, Audrey Hepburn, and Jackie Kennedy. He’d even designed the dress worn by Queen Fabiola of the Belgians to her royal wedding in 1960.

Cristóbal would retire from the world of high fashion in 1968, at the age of 74, and to the surprise of many, he made the decision to end the brand, along with his career, stating that, “High fashion is mortally wounded.”

Cristóbal was not impressed with the direction that high fashion had been taking. In his mind, if he was done designing, then there was no reason that the brand should continue.

A common theme with big designer brands, like Armani, Prada, and Chanel is the reverence they display for their founders. They take great pride in the fact that they’re family-owned, often boasting storied histories of each brand’s rise to prominence.

So how is it, that Balenciaga, with Cristóbal having no heir nor desire to see the house live on, continues to dominate High Fashion today? Is it possible that their claim to the original house, founded in 1917, is a fictional story?

Following his death in 1972, the rights to his brand name would be sold, against his stated will by an estranged nephew to the German chemical manufacturer, Hoechst AG, one of the co-founders of IG Farben, a lingering relic of Hitler’s war machine known for supplying Zyklon B, the cyanide-based pesticide, said to have been used at Auschwitz.

The reason for Hoechst’s acquisition of the brand was to continue its popular perfume line. The rights would be sold, again in 1986 to another chemical company, before finally being picked-up in 2001 by Kering, a multinational corporation specializing in luxury brands.

When Cristóbal died, Balenciaga was laid to rest as well, but the grave was robbed and the brand reanimated through economic necromancy.

It would lumber around for years, passing through the hands of several designers, until finally a new spirit came into Balenciaga. Demna Gvasalia.

Cristóbal Balenciaga, one never one to shy away from the unconventional, maintained a very distinct style and taste. Even his most daring designs were marked by his signature elegance. The Balenciaga of today – that is, the Balenciaga under Demna Gvasalia – seems to be intent on doing the opposite.

Demna’s signature style, which he imported from his own label, Betamal, brought a much darker aesthetic to the brand, making it almost unrecognizable, in comparison to the brand’s alleged roots in elegant couture.

To better understand this edgy new motif, there is hardly a more perfect encapsulation than the runway show for Balenciaga’s Summer 2023 Collection. The runway was a pool of mud, the mood was ominous, the music was anxiety-inducing, the BDSM handbags were on full display.

Models lurked the runway awkwardly, brandishing bruised faces in the look of fear that you would see in abuse victims, some looking almost possessed. Several of the male models walked with a life-like baby doll strapped to their chests, draped in dirty black trench coats, caged Teddy Bears in hand.

But these disturbing themes went far beyond just a soiled façade, as evidenced in this rare behind-the-scenes clip. Upon request, an uncomfortable male model opens up his bag to show us what’s inside, revealing a blanket, teddy bear, and pacifier spattered in fake blood. As disconcerting as this all was, there was also a clownishness to it that left many of us wondering, what’s this really all about, and had Cristobal undoubtedly rolling over in his grave. The sinister chic would become the norm in Balenciaga, the brand’s whole vibe now steeped in a very bleak modern darkness, a darkness that would culminate into two of the most controversial ad campaigns in the history of fashion.

Art is often provocative and edgy. The activist and street artist, Banksy popularized a quote by Mexican poet and academic, César A Cruz, who famously wrote, “Art should comfort the disturbed and disturb the comfortable.”

To the painter, there are no forbidden colors. No hue is considered sufficiently distasteful, that it is discarded completely. For the truly creative, whether their medium is the written word, audio, video, or applied art, the concept of spiritual darkness is a very real force in this world, one that can serve the artist in delivering a truth, moral, or statement.

But where does one draw the line between artistry and darkness for the sake of darkness – or perhaps for the sake of something worse? How can we differentiate between pushing boundaries and genuine malintent?

It’s like the question of what constitutes pornography? Sometimes, you just know it when you see it. The now-infamous Balenciaga Gift Shop ad for their Christmas 2022 Collection featured multiple toddlers posing next to plush Teddy Bears, adorned with BDSM gear and seemingly swollen bruised eyes, surrounded by an array of adult accessories. Wine glasses, beer cans, flasks, black vinyl tape used for bondage, chains from bags laid out in the shape of two…well, judge for yourself.

Ski masks, a child’s drawing of a burning home in demonic imagery, white rabbit symbolism, a heart-shaped doggy bed, a dog leash, a dog bowl that looks like a spiked collar, kids with sad or scared looks on their faces from models, some laying down as if drunk or drugged. All of this together painted a disturbing picture, one that was seemingly attempting to glamorize child abuse.

But it didn’t stop there. The other ad, this one showcasing the Spring-Summer 2023 Collections, wasn’t offensive, at first glance, like the previous campaign. It was a mostly innocuous office shoot, showcasing a new collaboration between Balenciaga and Adidas.

However, in one image, an Hourglass handbag is placed on top of a pile of paper strewn across an office desk. Anonymous internet sleuths enhanced the image to get a closer look at the papers and discovered one of the documents was the text from a US Supreme Court case, US v Williams, which criminalized child pornography. The portion shown in the picture cites another Supreme Court case, Ashcroft v Free Speech Coalition, which made virtual child porn protected speech.

Another picture in the collection featured Isabelle Huppert sitting in front of a stack of books, including one celebrating Michael Borremann, a Belgian painter whose work is known to include depictions of castrated toddlers. Beneath it was another book called, ‘The Cremaster Cycle’, featuring the film and performance art of Matthew Barney, which is just as disturbing, if not more so. His work features running themes of cannibalism and abortion, set against the backdrop of a demonic, dystopian-style futurism.

Together, these campaigns would immediately spur a wave of scrutiny bordering on righteous indignation. As a new TikTok trend emerged of people burning their Balenciaga merchandise, Karen Wood reported that sales took a “hit” in the US and UK.

From the most fringe conspiracy theorists to milquetoast Normies, who accused the brand of “sexualizing children”, Balenciaga responded with the wiping of all their social media, followed by a very public blame game with execs blaming creatives, creatives blaming execs, and the general public blaming everyone involved. The fashion house’s response to the scandal was put under the microscope by fashion magazines, marketers, and crisis management firms the world over.

The general consensus being that nobody was buying what the Balenciaga execs were selling. Demna would break his silence in early December, issuing a statement of his own. But others in the industry didn’t believe that Demna should be off the hook.

Zara Ineson, the Executive Creative Director at House 337, opined that, regarding Demna’s involvement, Ineson said, “As with all controversies, the ad scandal would eventually disappear from headlines, with the debacle being labeled in the news as ‘poor marketing’.”

But the public wasn’t willing to accept the verdict. The media may have lost interest in the story, but the internet was just getting started. Soon, everyone involved with the brand, even those only tangentially involved with Demna, would be scrutinized by the autists and armchair investigators of the World Wide Web. Demna is known for the company he keeps, being a major collaborator with Kim Kardashian and Kanye West, but he also keeps close industry friends like model and stylist Lotta Volkova, who worked as the lead stylist for Vêtements and Balenciaga, and Mintu Vasala, one of the brand’s premier runway models. When the scandal first broke, it was his association with Volkova and their tendency for occult and generally uncomfortable imagery that led people to assume their involvement in the satanic underground.

Volkova’s Instagram, which featured a bevy of images, ranging from weird to the sinister, would be flooded with accusatory comments. It didn’t help that both Demna and Volkova are close with Gosha Rubchinskiy, a Russian streetwear designer who was accused of pressuring a 16-year-old boy to send explicit images of himself.

Regarding these accomplices, Demna once wrote in an Instagram post that, “Someone wrote that Lotta, Gosha, and I grew up on child pornography and radiation from Chernobyl, which is why we’re so f***ed up.”

Beyond the sexualization of children, Balenciaga appears to have an interest in both the Arcane Arts and the impending Technocratic Dystopia, as well. In 2021, while the world was forced to isolate themselves indoors, during the COVID-19 “Pandemic”, Balenciaga released their Fall 2021 Collection inside a 3D web-based video game using the Unreal Engine, a project called “Afterworld, the Age of Tomorrow”. The game sees players traverse several zones within what looks like a Smart City wonderland, set in the not-too-distant future, where a White Rabbit eventually leads the player to a secret rave in the woods.

The surroundings are bleak, the mood is eerie, and peppered throughout are subtle symbols, including the White Rabbit of Alice in Wonderland and MKULTRA lore, as well as a decapitated man placed inside a labyrinth. This symbol is of particular interest, as it is the symbol associated with the Acéphale, which was both a publication and a secret society created by the French philosopher Georges Bataille. Both the cult and the publication were established in France in the late 1930s.

The image was an occult take on Da Vinci’s Vitruvian Man, a symbol meant to depict classical reasoning, with the head notably removed, a skull placed in the groin region, a burning heart in its right hand, while wheeling a dagger in its left. Bataille considered a Acéphale an anti-religion, a religion unto itself. They make it clear in their work that this symbol of the decapitated man is meant to represent the Death of God and Reason.

The public review included poetry, essays, and arts ,all dealing heavily in philosophy, esotericism, Nietzsche, and opposing fascism, Nazism, Christianity, and even democracy. The secret society by the same name was not simply another reading and discussion group, but a genuine occult society that was known to conduct torch-lit rituals in a forest, which were believed to have included human sacrifice. In the same way Balenciaga loves to portray a bleak dystopian future through their work, so too did Bataille and the cult of Acéphale.

In 1947, they published ‘Encyclopaedia Da Costa’, meant to coincide with the International Surrealist Exhibition in Paris. Most notable in it was an entry about a future they foresaw where a license to live was required to be on your person at all times, with the failure to keep yours in order being death. Acéphale set forth a stated mission of war on God, conventional beauty, and societal norms, in a very literal way.

They saw the potential for use of Modern Art and culture in this dark agenda, and claimed to have successfully infiltrated the Surrealist movement for that purpose. They also boasted of their cult’s membership of High Society figures in the fields of science, philosophy, and psychiatry. They intellectualized themselves into a pretzel to justify what amounts to pure degeneracy and evil, awarding themselves full ethical license to do what they will in their religious pursuit of Holy War against God.

Demna’s fascination with Acéphale’s dark legacy and Bataille’s teachings, and his deliberate choice to include a poster brandishing the cult’s name in Afterworld, speaks volumes about his philosophy. It actually allows us to make better sense of the brand’s otherwise outrageous creative direction decisions.

Though the scandal fell from relevance, things felt unresolved, like there was something still lurking behind it all. Were these campaigns merely the result of poor decision-making, or did the world collectively bear witness to a brief glimpse of a concealed malevolence?

There are too many variables pointing in the direction of intention to ignore. From the inclusion of children in the shoot, the Supreme Court ruling, the Michael Borrmann’s book, and especially the altering of the brand’s name to incorporate a canonite, venetian god associated with child sacrifice. When all of these things are factored together, it’s hard to believe that this was all an honest mistake.

But does the buck stop with Demna and company? Or could it be that the true evil, here runs much deeper than a mere photographer, stylist, and creative director? The fact remains that, despite assurances to the contrary, Balenciaga’s execs likely signed off on every aspect of these shoots. But does it end with Balenciaga? How far up the chain does the cultural rot go? Are the masses simply paranoid?

Or is this spiritual darkness something that’s endemic in the designer fashion industry and High Society, in general? Perhaps a deeper dive into the industry, as a whole is merited, to truly understand the scope of this evil. And what we can do about it.