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 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…
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
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