Extracted from STYLE.COM:Riccardo Tisci was giving quotes backstage. "It was Schiaparelli, animal sensuality, the forties, the thirties," he began, and then pulled himself up with a more cogent submission: "Actually, I wanted to show lots of different shapes for all kinds of women." That last comment made sense. What had transpired on the Givenchy runway in the preceding 20 minutes was, at least in part, a corrective response to the criticism of his last "Western Bondage" collection, which was deemed to be only wearable by the super-skinniest of the fashion brave. In this collection, there were ample representations of Tisci's breadth of appeal: suits, coats, tailored dresses, well-cut pants. Yet there were many other parts as well—fierce, chic one-sleeved spiral-cut dresses with fur implants in the shoulder pads; feathers and goat hair embroidered onto tulle; signature Tisci-esque moments of fetish-y leather and goth mermaid; studs on white leather…and so it went on.
If the sheer variety of it all militated against any impression of wholeness, some of the parts were often very good indeed. A passage of palest lemon-beige yielded three interesting short lace dresses with blue glitter shoulder pads peeking through, bookended by two immensely chic pantsuits with matching ostrich boas. Lily Donaldson got to trot around in an enviably modern white asymmetric evening T-shirt, looped about with ropes and feathers, over slouchy black pants. And then, not quite ultimately, came three white fantasy goddess dresses, fabulously draped with glamorous demi-stoles of 3-D plissé fans and ostrich nestled into the neck and shoulder. Their beauty and modernity demonstrated beyond doubt that Tisci has taken much from his experience with Givenchy's couture. Yet perhaps things have now reached the stage where the guy doesn't need to keep trying so hard to prove himself: We believe him. It would actually have shown more self-confidence if he'd whittled his catalog of accomplishments down by a third.
If the sheer variety of it all militated against any impression of wholeness, some of the parts were often very good indeed. A passage of palest lemon-beige yielded three interesting short lace dresses with blue glitter shoulder pads peeking through, bookended by two immensely chic pantsuits with matching ostrich boas. Lily Donaldson got to trot around in an enviably modern white asymmetric evening T-shirt, looped about with ropes and feathers, over slouchy black pants. And then, not quite ultimately, came three white fantasy goddess dresses, fabulously draped with glamorous demi-stoles of 3-D plissé fans and ostrich nestled into the neck and shoulder. Their beauty and modernity demonstrated beyond doubt that Tisci has taken much from his experience with Givenchy's couture. Yet perhaps things have now reached the stage where the guy doesn't need to keep trying so hard to prove himself: We believe him. It would actually have shown more self-confidence if he'd whittled his catalog of accomplishments down by a third.
Extracted from VOGUE:
Today's collection was as slick as ever – darkly sophisticated, pointedly aggressive and alluring without exception. The first ribbed jersey jackets had peaked shoulders that rose above finely feathered pads, while day suits had gothic details: one lapel curling down from the throat or shapely details making sculptures of otherwise plain, gorgeously tailored wool suits.
The elegant skirt suits made a wearable basis to this collection – sometimes zip-skirted blue tweed hung with heavy metal chains – but Tisci took a surrealist turn by accessorising them with swathes of what looked like human hair over skirts, crowns of vertical feathers (worn by one Karen Elson), and more feathers that burst out of the seams of curvy daywear: a more practical version replaced the feathers with gathered tulle.
Later, cream lace dresses had glittering blue shoulder pads peeping through and covered stiff, pointed bras in another reference to the feminine armour that designers want us to prepare ourselves with next season. Incredible white dresses studded with silver bullets and featuring cloak backs were an even stronger alternative, while later the suits appeared hung with fishing nets: a vision of romantic aggression in clear contrast to Gaultier's cheeky fishnets last night.
Soft T-shirt jersey was transformed into full length eveningwear for a finale that featured pleated tulle and feathered wings, brazen silver zips and high neck ruffs. It was more otherworldly than futuristic and it was, as ever, a brilliant combination of big stories and perfectly wearable, very desirable clothes.
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Colour Scheme: COMPLEMENTARY COLOUR SCHEME
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