There was something about the latest Givenchy Couture collection. It wasn't the intimate presentation instead of a traditional fashion show and not even the exquisite details. It was the idea that the dresses created a unique atmosphere with their mere presence. If that can be felt only by looking at photos, imagine how the real show actually was...
Now, let's see what the vision of Riccardo Tisci was for this Givenchy collection. Below the images you will find some excerpts from an interview for the NY Times:
On choosing to put up a private couture event:
"This season I decided to go back to the roots of the house and to do a little collection, more concentrated as a message and on cut and shape.
I want to present 10 very specific looks, a strong identity of what I’ve been doing in last five years, and by appointment, like it used to be in the old times, during the ’50s or the ’60s. Couture for me is very special, something that has to be given time, very personal."
About the couture woman Riccardo Tisci envisioned:
"My woman is so strong, so confident of her sexuality, so confident of her decisions that she can play with both worlds. She can wear a tuxedo with a romantic shirt; she can wear a jacket, like a men’s jacket, with a mini-dress and high heels."
How a dark collection can be done not only in black:
"You know, dark for me is not always black, it’s not only dark colors, it’s not about goth and black cloth. It’s much more mental.
This collection is languid, the shape is like a drop on the body. There is a tuxedo jacket, which is something I’ve been doing for the past few seasons — short in the front and curved but very dramatic in the back. It’s like having a cape on top of a long black priest dress.
It’s a lot of crosses. I’ve got zippers that open the dress, a chemisier that crosses the body at the waist and on the front. Other than that, I’ve been working in all gold, which I’ve never done before. It is always about a pattern, embroidered on this garment for church, for liturgy, for a pope.
I think it’s less dark. It’s not black — for the first time in my collection in 10 years of my career. The darkest color is brown; it’s from brown to white.
It’s difficult for me to do a collection that is from Look 1 to 50 completely different colors, because my way of working is about believing one thing and developing it to the end. This season is mostly about salmon, flesh colors, beige.
It’s my romantic side, but the concept is very gothic and very dark."
From the Riccardo Tisci interview by Suzy Menkes for the NY Times - "Skeletons, Family and Religion"