Saturday, 10 July 2010


Givenchy Couture.
Contrary to previous seasons, Riccardo Tisci decided to showcase his collection as a look book consisting of ten images. Exhibiting the looks in this way demanded a refreshing, observant perspective in which the exclusive editors could see the extensive detail necessary within this astonishing collection. I feel this presentation, to my surprise, delivered a firmer and more dramatic appearance to which the delicate components could be observed properly, rather than an informal and short catwalk show. The intimate presentation was revealed in the classical Parisian interior of the Hotel D’Evreux.
Riccardo Tisci explained that the collection was centred around the figure Frida Kahlo and her three, unique passions: sensulaity, religion and anatomy. This was perfectly reflected in Riccardo's vision and in garments which were flawlessly created. This enthralling collection delivered a magnetic fascination and alluring charm which provides subtle potential for the Givenchy house to adapt and modify to stunning proportions in couture and perhaps become as influential and inconic as Cristobal Balenciaga or Charles James.

Painstakingly created and delicately crafted garments included the beautiful intricacy of a sheer sleeved dress encrusted in perfectly symmetrical embellishments in opalescent beads, delicate white lace and dipped in finely cut clear crystals with lashings of dégradé ostrich feathers in a tender flesh-coloured hue. The crystalline pattern precisely veiled the female figure of Natasha Poly, whilst silver zips embracing the shoulders gave a contemporary edge. These obsessively dense clusters of crystals upon layered lace beautifully rendered the dimensional structure of the skeleton.

Oppositional to what many may have expected, there was very little black. Riccardo masked his muses in flesh tones, white, gold, or deep maroon to provide a basis that black was not necessary to imply the traditional gothic connotations. Baboon fur was bleached to give a softer essence, rather than a dark and sinister implication. Layered fringing was exposed agaisint stronger but still sensual brocade. An ominious yet romantic gold lace dress shimmered with incandescence between the light metallic lace, the flickering paillettes and the misty opaline beads all unlocked the arcane connection between romance and death. The romantic lace seemed to reveal a mutated ideal of the labyrinthine nervous-system or veins. The zips resembled small bones, outlined brocade upon sheer silk mirrored a rib-cage, and the back of an utterly astonishing embellished golden jacket had a cross upon the spine. Expert detail continued with a jacket in double silk duchesse satin which presented a network of beaded embroidery with taught, layered frills. This embroidery encased by rippling frilly lace framed the beaded pattern evoking a paradisical, celestial yet slightly inauspicious sense to the collection. The jacket included detailed prisitine cermaic crosses and in the centre, an indistinct skull with ethereal wings sprouting from it, the pattern in the ornamentation itself seemed to mirror the audascity and gothic grandeur of a church, which would reference to religion, used as a key theme.

It is no surprise that some of these creations took 6 months to manufacture, if the detail is this breath-taking in 2 dimensional images, seeing these garments in real life must have dominated a numbing, awe-inspiring intensity to which these pieces rightfully deserve. This impressive collection secures Riccardo as a designer who has a unique ability to provide a strong difference between ready-to-wear and haute couture both remaining wearable, modern and decadent beyond recognition. A truly regenerative, alluring and opulent collection which demands an admiration of the vision and originality of Riccardo Tisci.

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