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Friday, January 28, 2011

Givenchy Givenchy WA

I was pretty in love with the early millenium style "badboys" that Ricardo Tisci sent down the runway for Givenchy Menswear AW collection a wee while ago, the rottweilers and the soft looking leathers were pretty cool. I read somewhere that it kind of looked like a new-fangled wardrobe for the Clockwork Orange boys. It does, only less sociopathic. That's always a good thing.

Anyway, the main focus of this post is not of the Menswear collection that Tisci sent out. As wonderful as that was, it has nothing on his Haute Couture collection for spring this year. Taking inspiration from Japanese dancer Kazuo Ohno and from the instantly recognisable East Asian symbol of the crane, Tisci has managed to use Japanese influence in a new way in fashion.

Instead of running the well worn and cliched route of exaggerated sleeves, wrapped dresses and obi belts (all running the not so subtle kimono theme), Tisci used the play of hard vs soft, visible and covered with the soft and smooth silhouette to echo not just the work of Ohno, but also in some ways, traditional Japanese wedding dresses through the use of the jarring and exaggerated headwear.

Whatever his inspiration, Tisci's work is undeniably beautiful and the craftsmanship that went into producing his pieces must be admired. Apparently the dresses took "2000 hours of cutting, 4000 hours of sewing plus a further 2000 hours for the hand cut sequins..."
At first it seems ridiculous to spend so long on making dresses, but when looking at the close ups of each dress, I can't help but think that they were all worth it. Here's the close ups of my faaaavs. Click them for close ups.

For more images of Givenchy Haute Couture, go to Vogue.