WINGS OF DE­SIRE Ric­cardo Tisci’s decade at Givenchy has seen him reach new heights as a de­signer, with a po­tent blend of lux­ury fash­ion and street style, re­li­gious rit­u­als and per­for­mance art. By Jus­tine Pi­cardie. Pho­tographed by Tom Craig.

Harper’s Bazaar (Malaysia) - - The News -

Tim­ing is ev­ery­thing in fash­ion, whether achieved by good luck or grand de­sign. This is a busi­ness that must look to the fu­ture, while also cel­e­brat­ing its past; craft­ing her­itage and his­tory into a de­sir­able mod­ern com­mod­ity that will ap­peal to cus­tomers six months or more af­ter its cre­ation. And so it was that Ric­cardo Tisci cel­e­brated his decade at Givenchy not in Paris, but in New York, with a Spring/Sum­mer ’ 16 col­lec­tion that was staged at sun­set on Septem­ber 11. The legacy of 9/11 was all too clear, given the show’s lo­ca­tion: on a pier jut­ting out into the Hud­son River, over­look­ing the me­mo­rial on the site of the orig­i­nal World Trade Cen­ter that was de­stroyed in the ter­ror­ist at­tacks of 2001. The au­di­ence in­cluded mem­bers of the pub­lic, as well as the fash­ion press and a host of Tisci’s celebrity friends (Naomi Camp­bell, Ju­lia Roberts, and Court­ney Love, among oth­ers). As the hul­la­bal­loo in­creased around the late-ar­riv­ing Kim Kar­dashian and Kanye West, the heart­felt mes­sage of the pro­gramme notes seemed in danger of be­ing ob­scured: “This event that we are creat­ing to­gether is about for­give­ness, in­clu­siv­ity, new life, hope, and above all, love.”

These words had been writ­ten by the per­for­mance artist Ma­rina Abramović, Tisci’s close friend and col­lab­o­ra­tor as artis­tic di­rec­tor of the show; and de­spite the sur­round­ing com­mo­tion, they some­how suc­ceeded in their stated aim. The clothes were worn by a range of mod­els from around the world—a num­ber of them, such as Joan Smalls, cham­pi­oned by Tisci from the start of their ca­reers—against a back­drop of re­cy­cled wood and de­bris, to a sound­track of tra­di­tional songs from six dif­fer­ent cul­tures and re­li­gions (Bud­dhist, Jewish, Chris­tian, Ara­bic, In­dian, and Greek Ortho­dox).

Tisci’s col­lec­tion was beau­ti­ful rather than revo­lu­tion­ary—black tuxe­dos worn with del­i­cate lacetrimmed slip dresses; fine ivory silks soft­en­ing the pin­stripe tai­lor­ing; the high drama of gothic evening gowns off­set by re­strained suit­ing—but the re­sult­ing sense of emo­tion was gen­uine. By the fi­nale, an ele­giac per­for­mance of “Ave

Ric­cardo Tisci at the BAZAAR shoot, fash­ioned to

re­flect his gothic-futuristic cre­ations

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