Proper. Givenchy SS19

GIVENCHY

Clare Waight Keller gradually finds her grip at Givenchy with very proper ready-to-wear for both, women and men. This season, she proposed a certain toughness – clothes that empower the wearer. Take that look featuring high-waisted pants with a leather jacket tucked in. Doesn’t it make the silhouette stronger and more confident? Military cargo pants and classical trench coats bring even more poise to the line-up. Of course there was evening wear, something Waight Keller evidently feels most comfortable in. We’ve got geometrically cut dress kept in bold colours, but also blazers and gowns plunged in metallic rhinestones, fringed and sequins. Somehow it all looked as light as a feather. It’s a good collection, but as I said earlier, Clare tends to keep Givenchy’s pret-a-porter proper. Would love to see something a bit more surprising for her next season.

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Collage by Edward kanarecki.

Hubert. Givenchy Couture AW18

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Clare Waight Keller puts Givenchy back into the spotlight – I doubt I’ve got to remind you who dressed Meghan Markle for her wedding day. But Clare’s latest collection – the haute couture one – establishes her even further as the right person behind the label found by the late master of chic and elegance, Hubert de Givenchy. It was a magnificient tribute to the man, who built the image of Audrey Hepburn and was one of the most crucial pillars of 20th century fashion. After his death in February, the brand – and it’s creative director – were sure that the genius has to be embraced to the fullest. “Having met him, and the fact that he passed three months ago, he felt very present in my mind; his legacy felt like something that needed to be celebrated,” she said backstage. “Everybody knows his work with Audrey. But less so the capes, the peekaboos, the architecture, the flou. . . . It was a wonderful trip for me to discover it and reinterpret it my way.

It’s true – there’s so much connected to Givenchy in fact, and Waight Keller refreshed that to the contemporary audience. The iconic LBD (Little Black Dress!) was there, but with a hood (which could have been a modern Breakfast at Tiffany’s look to wear to be honest); this spectacular, caped ivory gown accessorized with a silver metal harness appeared; delightful plissé silk and sophisticated draping were present in nearly every look (Hubert would adore that); meticulous embroideries and feather aplications were as well on the runway, in excess. The collection was rich in references, but Clare didn’t get trapped by them at all. In overall, it was a refined, glorious line-up that makes you reassured of one thing – Hubert De Givenchy’s creations are timeless, and people like Waight Keller are talented enough to make them look desirable and modern.

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Collage by Edward Kanarecki.