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Godfrey Deeny Published
March 7,长沙长沙USDT兑换 2025
Paris Fashion Week's second debut this season was Sarah Burton's first collection for the house of Givenchy, which turned out to be an unqualified hit.
An intimate debut unveiled on a sunny Friday morning inside the salons of the historic headquarters of Givenchy on Avenue George V. Though redone all in pristine white, including the staircases, providing a strikingly clean slate for Burton's vision.
Givenchy and Burton continue to be a magnet for stars, with an A-list front row that included Gwendoline Christie, Rooney Mara, Joseph Quinn, Ryan Destiny, Raye, and Kit Connor, all dressed in Givenchy by Sarah Burton for the occasion.
"I wanted a blank page. When I came here, I found a beautiful building with all sorts of walls, like little boxes. So, I said, 'Can we rip out a few boxes?'" Burton told Fashion Network post-show.
Burton included many references to Hubert de Givenchy, from his Bettina blouse and crisp tailoring to his divine little black dresses for Audrey Hepburn. But by debuting with great authority, the British designer has already made the great French house of Givenchy her own.
She opened with a respectful nod—a black fishnet top emblazoned with 'Givenchy 1952,' the year of the house's founding. Though even here, she had subtly subverted Hubert's oeuvre with the sexy semi-sheer fabric, following that with pink and canary yellow leotards folded elegantly at the neck, couture style.
Burton's tailoring skills were to the fore in bold herringbone double-breasted suits and nipped-at-the-waist redingotes with dégradé finishes. Every so often, she infused dashes of pure Parisian chic—from a perfectly cut, dropped-waist white double-face cashmere coat to a sexy biker jacket cut as a short cocktail.
Burton joined Givenchy last year after nearly three decades working for the house built by Alexander (Lee) McQueen, beginning in 1996 when Lee was also the couturier at Givenchy.
"I wanted to go back to the silhouettes of Givenchy—that's the backbone of this house. But I also wanted to encompass everything that it is to be a woman today. A moment you want to feel powerful, or sexy, or fragile, or vulnerable. I wanted to communicate and celebrate the complexity of being a woman," explained Burton, who used all sorts of shapes and sizes of models in a highly variegated casting.
Also apparent was a clever sense of humor, from a remarkable multi-mirror top, worn seemingly miraculously, to a stupendous multi-makeup compact cocktail dress that provoked wry smiles all around.
"In my head, I imagined Bettina Graziani (Hubert's favorite model) spilling her handbag in the atelier, and out came powder puffs, makeup cases, and a few jewels," smiled Burton.
The result was the freshest new set of jewelry this season—jangling Swarovski tambourine earrings, crystal knuckle earrings, knotted silver chokers, golf ball-sized earrings, and bold, chunky abstract bracelets. In one show, Burton invented an entirely new commercial category where Givenchy had previously been absent, adding to the sense that this debut was a significant win for Sidney Toledano, CEO of LVMH Fashion Group, and Alessandro Valenti, who became CEO of Givenchy last year.
Burton also took plenty of risks, reinventing the Bettina blouse as a sexy nightshirt and reinterpreting Hubert's signature inflated sleeve in a femme fatale version with unattached leather sleeves worn with a mini bra.
Next up is couture, though it is more likely next February as Burton builds her team. Like in her tenure at McQueen, she wants to create workshops with young graduate talent, using pattern cutters from "the amazing schools they have here in Paris."
The show was the latest step in a pretty remarkable career for Burton, who joined McQueen straight after college. She became his right-hand woman before taking over as designer at his passing in 2010. In her first months at McQueen in the mid-'90s, she recalls taking the Eurostar to bring "show pieces, like flashing robots," from London to show in Givenchy couture shows in Paris.
When asked to define the Givenchy DNA, Burton replied:
"I think wherever you go, you have to tell your own story. Establish what the house represents, and then interpret what you want to say with feeling, trust, and emotion," she concluded.