The designer said he had gone back to the early 1970s and the start of fashion’s obsession with eroticism – something which was evident in the inclusion of transparent fabrics and sheer bras.
More evident, however, was just how far the maison has moved away from the long-ago ‘muse’, Audrey Hepburn. The mood was more Studio 54, with its disco-bright, glam-rock, sequinned jumpsuits, in graphic patterns, glitter-ball eye make-up, and electric ball gowns, with golden crystal bustiers, and shadow-dyed from neon-lilac to intense velvet, and finishing in bouncing, pom-pom trains of ruffled tulle.
But there was equally immaculate tailoring, too, exemplified in the concentration on tailcoats. One, scissor -sharp in black barathea with lacquered lapels, came with tuxedo-trousers, worn over a feathered tunic, shadow-dyed from ivory to kohl-black.
Other tailcoats were in jet-black caviar beads, over a midnight blue jumpsuit, or were worked a profusion of black lace, jet, lace-covered crystals, and encrusted appliqués of Guipure, over a long, dress in layers of lace.
Tisci did not forget his fascination with feathers, either. Skirts, collars and tops were fashioned from black vulture, emu and crow feathers, gleaming in a quite sinister fashion in the follow- spots, mounted high on the ceiling of the Salon Impérial – Yves Saint Laurent’s old haunt – in the Hotel Westin.
Everyone wants to know what he's thinking, and right this moment he's thinking about the seventies. In Tisci's case, it was the inspiration of the makeup artist, photographer, and art director Serge Lutens that got him going. "I was scared of couture at the beginning, and reacted by staying away from looking at the past at all," he confessed before the show. "But now I'm more confident, I started looking into the archive, and found the idea of this strong, erotic phase of Parisian women I related to."
That meant a collection that, first of all, consolidated Tisci's magic command of tailoring. Masculine-feminine tuxedo tailcoats shrugged coolly over ostrich-adorned T-shirts will be manna for women who crave a restrained yet powerful way of walking into a room.
http://www.style.com/fashionshows/review/S2010CTR-GIVENCHY
Exploring his trademark palette of flesh and black, he added jolts of emerald and cobalt blue for clown-like sequinned pant suits and ringmaster tuxedos that added to a dark circus theme with an element of risk, at times even risqué with transparent bras hardly hiding anything beneath sheer second skin layers.
The tailed coats had trailing hems over fine sheer dresses, while feather jackets and miniskirts featured crystal belts at the hip – Tisci’s signature emphasis on tailoring, sensuality and undulations between masculinity and femininity were all present but this season he infused them with a heady dose of erotic French cinema inspired by Helmut Newton and Guy Boudin photography as well as the Italian glam rock pioneer Renato Zero, with heavy beading and geometric patterns bringing to mind sexy Seventies Parisian nights.
http://www.vogue.co.uk/fashion/show.aspx/catwalk-report/id,8644
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