Many designers in Paris asked the eternal question: what do women want? What do they really want? Not many know the answer. Some are finding out by the trial-and-error method. Some prove how out of touch they are with the world. But a couple of creatives seemed to have caught the idea, or rather a vision of a contemporary woman, made from flesh and blood, living a real life and wanting to dress well.
That sense of assuredness was present in Sarah Burton’s debut collection for Givenchy. It was a confident outing, one that put the brand back on the fashion map – and into conversations. But it doesn’t mean it was flawless. The opening look, an open-work bodysuit, would be just fine if not the tacky, in-your-face logo. The over-sized suits would feel a bit more powerful if they had a more distinct cut. The eveningwear was neither sharp or soft: it was somewhere in-between, subtly inspired by the couture history of the maison, but also trying to look modern. I was never a big fan of Burton’s work at Alexander McQueen, especially as her last years for the brand unfurled. Although her Givenchy offering feels less superfluous and more directed towards a real woman, I can’t help but see cues taken from Phobe Philo’s eponymous brand. Just look at the asymmetric, high-neck dress or the leather-wear.
Also, I asked a couple of women what they thought about this collection. All of them said nearly the same thing: it looked mild and plain to them.
Collage by Edward Kanarecki.
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After exiting Burberry, Riccardo Tisci should return to Givenchy. It would be a perfect homecoming, because it seems only he could understand how to direct the brand in contemporary times. Seasons come and go, and Matthew Williams still has no clue what’s Givenchy’s identity, and what’s worse, what’s his role in writing the house’s history. It’s really difficult to find the spirit of Givenchy, properly revisited, and any signs of Williams’ input in the spring-summer 2023 collection. Even Carine Roitfeld’s styling didn’t help (quite ironic – she was a key person for the brand during Tisci’s reign). The line-up was a mash-up of familiar things. We’ve got some random-looking Chanel tweeds. There’s early Demna for Balenciaga vibe. There’s Hedi Slimane’s Celine, over and over again. Hoodies worn under blazers, styled with cargo shorts, seem to be the biggest takeaway from the entire line-up, but we’ve seen that styling trick many, many times on other runways. The eveningwear had no novelty in it, as it referenced Hubert De Givenchy’s archives in form of boring „re-editions”. And it felt completely out of place after a line-up filled with denim and combats. The inconsistency of the collection was the most striking thing about it. Also, what’s the point of having an outdoor presentation in October, especially in drizzling Paris? The pouring rain made the whole event feel even more depressing and frustrating. Williams’ contract at Givenchy is coming to an end, and I doubt it will be prolonged. The brand should really consider the choice of next creative director, because with the flow of time, the brand is becoming a wreck.
Collage by Edward Kanarecki.
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