Como si fuera alta costura para el escenario, Riccardo Tisci colabora por primera vez con el taller de trajes de la Ópera Garnier para diseñar el vestuario del ballet Boléro de Ravel.
Like creating Haute Couture for stage, Riccardo Tisci for the first time collaborates with the atelier of the Palais Garnier Ópera to create costumes for the ballet Boléro de Ravel.
It feels this collection is just blatantly aiming to resell past hits; which of course, is not a bad move commercially speaking.
Fashion is, supposedly, about bringing in the new, the now, and making it timeless (like Philo at Céline), not going back in (recent) time to redo old clothes. This just feels like when it's Sunday afternoon and you are too tired from cooking all week, so you throw together all the leftovers from the past few days (plus a few more ingredients) for dinner. Sometimes, surprisingly, it ends up being tastier (even if not original) than the initial dishes. Food analogies apart, this is sort of what went on at Givenchy.
Recreating the Haute Couture tulle embroidered skirt for ready-to-wear was a brilliant idea, just add the famous best selling sweatshirts and belt them with what looks like a mountain climbing rope and metal loop buckle and you've got instant street style favorites. I can already hear the cash registers go "cha-ching". The color-striped python boots, half-zipped biker jackets turned into corsets, pretty paisleys, Victorian flower prints and plaid shirts will surely become sought after by Tisci for Givenchy fans. This was also one of the few shows that offered outerwear other than the ubiquitous oversize coat: points for that. Still, it's hard to consider it a hit collection when something as essential as the feeling of novelty is missing.
Let's not forget Givenchy skipped Haute Couture this January. Is this presentation and that recent absence a sign that Tisci is failing to come up with something new? or is he ready to depart?