TISCIOLOGY

2014 m. gruodžio 14 d., sekmadienis

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2014 m. spalio 15 d., trečiadienis

Review: Riccardo Tisci for GIVENCHY haute couture spring/summer 2006

Looking for all the possible information of Givenchy shows, it is clear that head-designer Riccardo Tisci has never been supposed to talk more about his creations. It is a little bit difficult to take a deeper attention at each design of current collection... All my insights comes from watching short videos, showing fragments of Givenchy fashion shows.

As it can be seen, for each haute couture collection Riccardo Tisci uses instalations instead of runway shows. The concept of exhibiting luxurious outfits like pieces of art is showed very clearly. Haute couture spring/summer 2006 collection was presented in George V avenue, historical Givenchy maison. The showroom was selected into several different parts that reflected seperated themes or stylistics of the latter collection. It was selected not only in different spaces - rooms but colors of haute couture clothes as well. Black, red, grey, white, cream-colored parts formed the main image of the collection. What about those spaces, that I have mentioned earlier? All the Givenchy maison environment were seperated into abandoned artistic museum archive-like or loft place, space of dark stairs, white modern full of transparent glass room.

The whole collection is very classy, yet some details of alternative style were included as well. It becomes quite expected that Riccardo Tisci limits himself by choosing only few but basic colors - black, white, red, creme, grey.

The collection is devided into 2 parts - everyday's classics and very luxurious haute couture gowns (take a look at black and red pieces!). Red, shiny sequined gowns seem to be made right for the red carpet. Combining classy look (for e.g. black midi skirt and white shirt blouse) with high fashion-like gowns made of light transparent creme, red, black fabrics, decorated of ruffles, feathers - could be marked as a symbol of "double life or sides". Woman coping with a daily routine and life issues and enjoying it at once. This theme of duality can be noticed in the idea of different environment.

This haute couture collection is the 2nd Tisci's attempt to recover this type of fashion that has its deep traditions under the name of famous french brand - Givenchy. There is not doubt that the haute couture spring/summer 2006 collection of Givenchy can be called as a finally developed style of Riccardo Tisci's dark romantism and mysticism which is rather seen in every collection nowadays. Masks on models' faces is one of the brightest feature having a meaning of tribes that are so important to designer. Image of feminine but strong and independent woman is another well-known mark of Riccardo Tisci's philosophy.

Photos: Vogue.it

2014 m. balandžio 26 d., šeštadienis

Review: Riccardo Tisci for GIVENCHY. The very first ready-to-wear collection for spring - summer 2006

What is common among pure white space, feminine romantics, boxing sportswear, and the father of minimal music Philip Glass? – A hardly guessed riddle has been asked by the new up comer and still fresh face of Givenchy house Riccardo Tisci.

Dazzled white space, abandoned by not using unnecessary decor details. Only one white circle or rather a ball was used in its centre. As minimal as the environment, was music. Rhythmic slow walking of models and non–stop repeated word “Koyaanisqatsi” (in hopi language it means unbalanced life), as if it transferred us to religious ritual, somewhere deep in Asia. But no actual sacrilegious signs were shown. It could have been felt in the space though, where the collection was presented.

It seems that minimalism aesthetics was the key of spring – summer ready-to-wear 2006 collection. White and black colors, some other light and metallic tones prevailed in almost each look. Just like in the latest haute couture autumn – winter 2006 collection, R. Tisci still remained faithful to romanticism, infinitive classics and sense of elegance. He played with contrasted garments: chiffon, leather, satin, transparent and heavier types. Grey satin costumes with opened–feet metallic heels, plus bomber–like jacket, white ensembles - seems to become one of the best choices for this spring – summer 2006 season to be worn. Lilac and fish tail skirts, combined with transparent blouses or those that opened naked shoulders, created the image of urban marmaid. No unexpected details were shown in these exact models. But there was an attempt to mix sportswear with the foundation style of well known feminine elegance, so deeply loved by R. Tisci. Leather shorts and massive belts, which are better known as a uniform of boxers, matched with simple shirt, looked very individual out of all the ready-to-wear collection. Although, it can be said, it was most remarkable pieces.

The balance of the ready-to-wear collection was not always kept. Eyes, deeply rimmed in black kohl, modern silhouettes, the return of Hubert de Givenchy classical style of great 50s (although, Audrey Hepburn’s influence was not seen!) that were noticeable in some details – all could have been called the perfect part of ready-to-wear collection. But… a group of ensembles were quite questionable too. Some pieces were better worn for autumn – winter season than for hot summer days. Also all parts of black stockings and black heels in comparison with white skirts and light jackets, made its bottoms look unusually heavy. Taking risks by choosing various types of materials are always welcome, but not every time it becomes successful. Transparent crème tone dress didn’t look very tasteful in the way it covered woman’s body. Luckily, the part of classical costume ensembles outweighed the weaker one.

Perhaps, you had to be really smart enough, to understand the concept of this Givenchy spring – summer ready-to-wear 2006 collection. How would you have connected white minimal space with a super huge ball in its centre, slow motions of models, Philip Glass’ “Koyaanisqatsi” soundtrack, sportswear details and R. Tisci’s beloved romantics, mixed with perfect classics? I would like to see a deeper meaning, hidden behind this collection, than just simply call it - “The concept of classical elegance, which is very feminine, combined with an opposite style – sportswear”.

It feels like a modern well dressed woman from West travels to Asia, somewhere deep to explore unknown archaic places. She visits Buddhism temples, lights the incense to make a wish and prays. But when the late night comes… she becomes another person. She randomly drops into a dark boxing ring hall, where rich Asian men smoke fat cigars and shout loudly. A woman draws their attention suddenly and she knows it…

Rhythmic music, and motions, seen on runway, non-stop repeated word “Koyaanisqatsi”, shiny white atmosphere – it all hypnotized. R. Tisci’s insecure state was still felt in the manner of developing the vision of Givenchy. An unbalanced life or the same unforgettable “Koyaanisqatsi” was quite released in some parts of the collection. But looking from a distance, “Koyaanisqatsi times” for Givenchy house now becomes the past and with each collection its image seems to be already cleared.

Photos: vogue.co.uk

2014 m. balandžio 25 d., penktadienis

Personalism: The letter from Riccardo Tisci

Today I have received a personal letter from GIVENCHY head designer Riccardo Tisci. To be honest, few months ago, then I decided to send my fashion illustrations - this were 2 little graphic drawings with my interpretations, mixing several models from various, new and older collections - but I have never thought or dreamed (it would have been too bold!) about getting the reply. I thought it would be so so wonderful just to get a printed and typed letter with his signature, but no handwriten one. Also, it was the middle of February then I have sent my drawings. I forgot about waiting for any news from Givenchy. I was feeling and still feel that I did nothing special to be worth his attention. But... I am sincerely grateful to him!!