Two things usually happen post-breakups — one either seeks out a whiplash-worthy rebound or sets out on a journey of self-discovery. As a studio-led collection, Givenchy’s first show since Matthew M. Williams’ departure as creative director demonstrates a sense of introspection and a gentle observation of its roots.
For a brand that has endured two creative directors within the past six years, a palate cleanser is perhaps deemed crucial before setting sail on newer beginnings.
Rather than lofty interpretations of the house codes, FW24 seduces with an air of restraint to free itself from old flames. Opening the show with Hubert de Givenchy’s work uniform, a boxy, collarless blouse dangles the idea of a fresh restart. No longer brooding, the Givenchy man sports shrunken silhouettes and carries himself with modesty and his rediscovered elegance — one that doesn’t involve layering outerwear on top of bare torsos. Looks featured slim, chandelier-clad trousers and lightweight turtlenecks worn under trimmed-fitting outerwear, all paired with mules and loafers with slim soles.
Out goes severity, in comes tenderness worn as headscarves printed with trompe l’oeil braids. Arms tucked underneath the cape-style sleeves of cropped bombers, coats and jackets remove the mulled stance of masculine dressing and welcome a touch of femininity. Shearling-lined parkas and Pandora bags were seen alongside new iterations of the Voyou bag — which now comes in grained buffalo and velvety cowhide.
And although paradoxical at first, demonstrating restraint and nonchalance means coexisting out of introspection and self-centring. As Givenchy finds new footing, returning to its origins and to refrain itself from overexertion is now a crucial act of self-preservation; as we’ve always seen.
Written by LingJie Tuang
