Creative sparks fly when Riccardo Tisci picks two disparate themes and explores a dialogue between them. For couture, the “opulence of the gypsy world” met the severe, sculptural shapes of the Sixties.

The latter era, plucked from the Hubert de Givenchy archives, delivered some new verve to Tisci’s usually sinuous shapes. There were short and pert kimono sleeves, and shoulder lines inspired by the fur stoles women wore in that era.

Speaking of plucking, that’s what Tisci had Givenchy’s formidable atelier do to mink, which was also laser-cut in Moorish patterns, overlaid with tulle and then embroidered with crystals, their blood-red hearts sparkling or shielded in red leather. The precious material was then cut into a short-sleeved tailcoat, or one whose tails hung down at the front.

The craftsmanship of this collection was staggering, if at times heavy-handed. Narrow strips of black leather, resembling strands of licorice, were molded to form the bustier of a black velvet gown, and were also strung loose from shoulders for a witchy effect.

Most of the silhouettes were long and enveloping, including slim capes in fringed velvet or a lattice of black leather. The most soigne looks were crepe dresses in cappuccino colors with fur-stole bodices. The caffeine hues continued with perhaps the most elaborate cardigan in all of Paris — a marvel of dégradé beads that went from caviar-fine to chunky earring-like strands, from café au lait to double espresso.

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