Women. Givenchy AW26

March 19, 2026 | Design & Culture by Ed

Ending fashion month on a show I’m still on the fence about – but one that clearly signals a designer stepping outside her comfort zone: Sarah Burton’s Givenchy.

The good news is that Burton has shed what I like to call the “Taylor Swift–ness” that weighed down her earlier work for the house – a certain safety and plainness that defined her first two seasons. Her third outing is anything but bland; this is no longer boring chicken with boring rice. There’s spice here, and bravado – plenty of both. I was especially taken with the draped, turban-like hats, as if lifted straight from a Jan van Eyck portrait, created in collaboration with Stephen Jones. They paired beautifully with Burton’s richly draped velvet halter tops and sharply tailored trousers. Her use of leopard prints and textured jacquards clashing with butch-leaning tailoring feels unexpectedly compelling. At times, I found myself thinking of that “Sex and the City” episode where Charlotte York discovers the world of art-world lesbians – there’s a similarly unapologetic feminine energy running through Burton’s work. It manifests in both boxy suiting and off-the-shoulder party dresses, creating a dynamic tension.

What made the collection slightly less legible, however, were the clunky bags and heavy boots that seemed to weigh the looks down. A stylist with a lighter touch might help Burton sharpen her message. Still, something is clearly shifting at Givenchy. And I suspect we’ll see the most coherent vision emerge in a season or two, once Burton has fully settled into her role.

ED’s SELECTION:

Givenchy Crepe Midi Dress

Givenchy Silver-tone Crystal Earrings

Givenchy Pinch Mini Embellished Leopard-print Calf-hair Shoulder Bag

Givenchy Cape-effect Silk-satin Mini Dress

Givenchy Paneled Leather Midi Skirt

Givenchy Patent-leather Pumps

Collage by Edward Kanarecki.
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The Debut. Givenchy AW25

March 15, 2025 | Design & Culture by Ed

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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Vivacious Farewell. Alexander McQueen SS24

October 3, 2023 | Design & Culture by Ed

For her final collection for Alexander McQueen, Sarah Burton was inspired by female anatomy, Queen Elizabeth I, the blood red rose and Magdalena Abakanowicz, a transgressive and powerfully creative Polish artist who refused ever to compromise her vision. Abakanowicz’s tactile artworks served as the show’s venue elements as well as reference point for all of Burton’s magnificent knitwear. That was a vivacious farewell, not only to her loyal fans, but the 26 years the designer spent at the brand, of which 13 years were without Lee. Poignantly, the collection served as a sequel to last season’s show, a proposal Burton – at the time – said was founded in the origins of the house: observing the virtues of Savile Row tailoring before tearing it apart and turning it on its head. For spring-summer 2024, the effect was heart-wrenching. Burton cut her tailoring like it was skin, flaying it open in slices along the ribs, shoulders and busts. With her reference to Elizabeth I lingering at the back of the mind, and her era’s taste for torture, there was something fierce and vicious about Burton’s incisions, aggressive and agonising all at once. After long-time house model Naomi Campbell closed the show, David Bowie’s “Heroes” filled the space in preparation for Burton’s final bow. She came out in her modest jeans-and-shirt uniform, embracing the industry figures who have been by her side since her early years with Lee McQueen – starting with fashion journalists par excellence Susannah Frankel and Sarah Mower – before blowing kisses at an audience that will soon be back to welcome her next chapter. Leaving Le Carreau du Temple, the atmosphere was one of gratefulness rather than sadness. Now the big question: who will replace her at McQueen? I’m rooting for Dilara Findikonglu, a fearless London-based talent who would be the perfect match for the brand.

Collage by Edward Kanarecki.
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Anatomy of Tailoring. Alexander McQueen AW23

March 7, 2023 | Design & Culture by Ed

Alexander McQueen is back on the Paris Fashion Week schedule. Last time when Sarah Burton presented her fashion show in the city, Europe was at the verge of full-scale pandemic. This season, the designer chose to remind the fashion audience about the sharpness and excellence of her tailoring, and the expression of a darkly explosive imagination that is well and alive in the McQueen ateliers in London. “It was looking at anatomy, the anatomy of tailoring,” Burton said backstage. “Almost back to the beginnings of McQueen on Savile Row. It was a progression, which starts very kind of straight and structured. And then it begins to flash and twist and turn upside down. It’s like how you begin with a garment – you have to know that there’s a way to construct it, the bones of it, before you can dissect it and subvert it.” Naomi Campbell, in a black jumpsuit with a swooping corseted bustier, led out a march of impeccable black suits, white shirts and black ties, and pinstripes cut into jackets and morphing into tailored strapless dresses. Strictness and pulled-together uniform have been surfacing as a theme this season; here, there was a precision and controlled tension of kinkiness where nothing was quite what it seemed. Burton partly put that down to having watched the stunning Cate Blanchett in the Oscar-nominated film TÁR: “That part where you see the tailors making their chalk-marks on the cloth.” The broken lines she had woven into the pinstripes vibed on that process. Her idea about dressing and studying the body led her to the anatomical drawings of Leonardo da Vinci. Once you knew that, the peeled-back sections of knitwear dresses, incised on the hips, took on a new, sinister context. Surreptitious references to blood and guts were transformed and sublimated into asymmetric frills and prints which looked like giant orchids at some points, and drawings of dissected cadavers at others. In calling up the past and reconnecting with the earliest days she’d worked with McQueen, Sarah Burton projected this collection right into the here and now. It had drama and strength, and many options for all genders to dress very differently than the over-blown theatrical costume that has passed for event-wear these past few years.

Collage by Edward Kanarecki.
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First Sight. Alexander McQueen SS23

October 12, 2022 | Design & Culture by Ed

Sarah Burton‘s latest collections for Alexander McQueen are her best offerings for the brand in years. Spring-summer 2023, shown off-schedule in London, is no exception. In a transparent bubble that had landed in the middle of Sir Christopher Wren’s 17th century landmark, the designer presented a thrilling ode to the eye. “The eye is the most unique symbol of humanity – each one is like a fingerprint; each one is completely individual,” she said, explaining the enlarged prints and raffia-fringed images of irises, pupils, and eyelashes embedded in dresses and spilling over a trouser suit. That thought gave her the impetus to begin to grapple with layers of themes that the house of McQueen has always been concerned with: nature and technology, deep history and present fears. “It’s sort of about seeing things again,” she said. “Not walking around with your eyes shut, your eyes down. Just seeing each other, recognizing each others’ humanity. Caring about each other.” But against that, she also meant that having open eyes on the world means taking on terrors. Burton recently re-read Orwell’s 1984. “That played into it as well: how do you find human contact in the world we live in, in the world of technology?” Besides the bold decorative narratives, out came clean, sharp tailoring. Look two: a revival of McQueen’s bumsters, with a cropped tuxedo jacket cut into sharp points at the front and the rest of it balanced to swing at the back. There are generations that have never heard of bumsters – Alexander McQueen invented that explosive downward shift of pant design in the 1990s. But the red-hot relevance of torso-exposure, and clothes designed to expose slices of naked flesh needs no explanation to new eyes. The references to the touchstones of the work of her late boss felt timely in this collection. Sarah Burton is designing in a different world, but the themes she brought to bear, and the skills inherent in the house resonate more than ever today.