Throughout the Paris season, no one has stopped talking about the twocollections that, as of 8:30 Monday night, will have bookended theweekend with major, monumental news. On Sunday, Riccardo Tisciinterrupted that conversation with his spring Givenchy show, whichdelivered the kind of fashion one hopes to see in Paris: confident,modern and, yes, chic.

The Givenchy of today has little incommon with that of its founder, whose work Tisci usually references onthe sly. This time he was more public about turning to the archive,specifically Sixties couture, its grand fabrics — radzimir, taffeta,moiré, duchesse satin — and sculptural ruffles repurposed for Tisci’sGothic glamour. Neoclassicism and traditional nun habits were also onthe inspiration menu, so he set a ceremonial tone with live organ musicby Mathias Lecomte and DJ Disco Dromo.

The show opened with apowder-blue dress and mock turtleneck, one sleeve and a soft ruffleframing the shoulders and body — a graceful and soft update of a staplecouture effect that Tisci used throughout the lineup. The main colorswere black and white with a few touches of baby blue and blush withsilver and gold accents, the latter in accessories. Collars were key,and when they weren’t part of the garment, they were emphasized withthick metal chokers. Tisci’s priestesses of high style were mostlyevening-bound in slim silhouettes, which ranged from column gowns withstriking, exposed backs to the tri-layered pieces for which the designeris known.

Savvy in his approach to signatures, Tisci blends theminto the specifics of the season so as not to dilute the new look withfamiliarity. A bomber jacket was romanced and renewed as a blouson inbias-cut lace. One black double-breasted jacket had rounded sleeves thatwere slashed open to create what looked like two petals, lined incontrast satin folded back like a wing. That’s how you bring a lighttouch to Sixties couture.

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