Let's forget the emotional connotations of showing on 9/11 14 years after the disaster and making a fashion spectacle that channels that horrific moment in time to present a pretentious, ostentatious, laboriously sentimental hour of insipidness that in it's aching artsy-ness did nothing but infuriate at such a ridiculous conceit that fashion can relate or be the balm to soothe the broken hearts and bones of those who lost so much in the attack. Let's forget that all and not dwell on how insulting it is and even more insulting to engage Instagram celebrities and worthless Reality Celebs or the over inflated ego of artist Marina Abramovic, to rally round this excessive monstrosity and make the display even more cheap and tawdry. Let's just erase that from our minds and focus only on the clothes...
Shall We?
If we do that, then we see that Riccardo Tisci presented a pretty much awe-inspiring collection, full of the best possible versions of all of his usual tropes, (let us be honest, this was not Tisci at his most creative, and pushing himself into new possibilities. This was as much a recycling and re-fabricating of all his "Greatest Hits" as anything he's ever done!) From the opening passage of tailored pieces counterpointed by lacier, more lingerie styling rendered in Black and White to the even more graphic Men's section that followed, Tisci was working his groove with particular elan. This progressed into Tisci's usual histrionics and over indulgence, from the few Haute Couture pieces that were sauntered down the runway to the lavish face embellishment and exotica.
The one immediate take away from the collection, other than Tisci executed his collection totally in Black and White and that lace was present in each and every exit, was that with this limited colour schema, perhaps Tisci was hitting a kind of fashion reset button, playing out variants of old ideas in new formats and keeping them freshened up by limiting the palette, was that Tisci has a distinct and discernible idea of what his Givenchy woman wants and how she wants to be seen. Rather that is an all encompassing view of womanity is another thing entirely, The outlandish, and onanistic display of this collection was almost enough to sink it to the bottom of the water that the show was presented on and beside, However, Tisci saved it by creating a multitude of ideas that cohesively and comprehensibly mined his oeuvre thus far at the house. Whatever one feels about that said oeuvre, the undeniable fact is that these are clothes for those who know the power of fashion. And, that in and of itself is more a statement than any other intellectual or emotional embrace could ever provide.
That's All.
Bye4Now!
The one immediate take away from the collection, other than Tisci executed his collection totally in Black and White and that lace was present in each and every exit, was that with this limited colour schema, perhaps Tisci was hitting a kind of fashion reset button, playing out variants of old ideas in new formats and keeping them freshened up by limiting the palette, was that Tisci has a distinct and discernible idea of what his Givenchy woman wants and how she wants to be seen. Rather that is an all encompassing view of womanity is another thing entirely, The outlandish, and onanistic display of this collection was almost enough to sink it to the bottom of the water that the show was presented on and beside, However, Tisci saved it by creating a multitude of ideas that cohesively and comprehensibly mined his oeuvre thus far at the house. Whatever one feels about that said oeuvre, the undeniable fact is that these are clothes for those who know the power of fashion. And, that in and of itself is more a statement than any other intellectual or emotional embrace could ever provide.
That's All.
Bye4Now!
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