proseccotabis
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right? we support this queen!
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Live Streaming... The F/W 2025.26 Fashion Shows
Milan Fashion Week F/W 2025.26 Show Schedule
Sarah Burton - Designer, Creative Director of Givenchy
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tourbillions
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The wipe out is already giving.
Phuel
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"We must go back to the basics, to shape, to cut. Realize something that is both simple and beautiful is much more difficult". Spot on.
Vogue Italia March 2025
"Le Radici del Futuro"
Photographer: Annie Leibovitz
Feature story: Mark Holgate
They are arranged on a table in his Parisian office on Avenue George V some clues of “his” Givenchy. This is a series of lookbook of the first collection (the one from 1952) designed by founder of the maison, Hubert de Givenchy, with images front/black and white back of each dress. Strictly architectural models, but not without a certain sinuosity, sometimes with touch bizarre of a leopard bag. Next to it, a stack of patterns calico from the first two Givenchy collections. Inexplicably ended up behind a wall of the old atelier, they were discovered during a renovation.
Unearthing the past to project ourselves into the future: exactly what Sarah Burton has been doing since she arrived at Givenchy, last September, awaiting the debut at the A/W fashion shows 2025-2026 in Paris. “There have been so many interpretations of it,” says the designer about the maison, which, in recent decades, is was directed by, among others, John Galliano, Clare Waight Keller and Riccardo Tisci, as well as her own former boss and mentor, Alexander “Lee” McQueen, whose brand she has led since 2010 (year of the founder's passing) to 2023. «I think that to move forward we need to go back to the origins, so as to be able to grasp the essence of a maison”.
Browse the lookbooks, commenting on the various models. «This was it a somewhat Hitchcock-like silhouette", she observes. «It's all a question of shape and construction. He used simple fabrics, such as cotton and silk. Maybe what I do won't be like that, but I like the idea to prune and create clothes for the human body, not for Instagram, with the help of a team of incredible people who still make things with their hands. And people have to feel it when they wear the clothes”.
If there is a person capable of grasping the emotional side of fashion, that's Burton. Her McQueen featured layers of almost high fashion craftsmanship, and she had the ability to evoke feelings in almost everything she drew. Her imagination is as powerful as her cutting ability is masterful in construction. If you try to imagine what her debut will be like, her statement «I love tailoring» is probably a good one starting point. «I'm interested in developing new silhouettes, which I hope they bring a touch of freshness to tailoring", she says. "Sometimes they will be clear, decisive, cut with a male hand, others will be sexier, seen from a female perspective. I want to build a wardrobe that includes all this. And I mean starting from the skeleton. At the center of Givenchy is the silhouette, and the effect it creates behind it is no less important than what it looks like from the front.”
And she continues: «Givenchy has a very beautiful story. To attract me it's the fact that it's a small house and that it's based in Paris. Me I like Hubert de Givenchy's relationship with the women he dressed: he was very empathetic." Burton is currently commuting between London and the French capital, where she is looking for an apartment: «I love it this city,” she says. «For years I have organized fashion shows here, but not there I really knew.”
Burton had previously worked for Givenchy, although not in a capacity official. She arrived at McQueen in 1997, when the founder of brand was making Paris gasp with its fantastic collections for Givenchy, sometimes sci-fi inspired, and she came often sent there, from London, with the props that McQueen created in her Hoxton studio. “I once traveled on the Eurostar with a robot at my feet,” she says.
The arrival at Givenchy followed a year-long break who worked in her small studio in central London, enjoying the idea of creating for the pure pleasure of doing it. «Power you stopping allows you to see everything more clearly and reconnect with yourself,” she says. This period allowed her to achieve the clarity necessary to start again. Now, on the threshold of debut, asks herself the same question that, in all likelihood, haunted Hubert de Givenchy seven decades ago, when he launched his brand: How do women dress today? «It's about living in real life, not to wear museum pieces,” says Burton. «Nothing too much elaborate. We must go back to the basics, to shape, to cut. Realize something that is both simple and beautiful is much more difficult".
Vogue Italia March 2025
"Le Radici del Futuro"
Photographer: Annie Leibovitz
Feature story: Mark Holgate
They are arranged on a table in his Parisian office on Avenue George V some clues of “his” Givenchy. This is a series of lookbook of the first collection (the one from 1952) designed by founder of the maison, Hubert de Givenchy, with images front/black and white back of each dress. Strictly architectural models, but not without a certain sinuosity, sometimes with touch bizarre of a leopard bag. Next to it, a stack of patterns calico from the first two Givenchy collections. Inexplicably ended up behind a wall of the old atelier, they were discovered during a renovation.
Unearthing the past to project ourselves into the future: exactly what Sarah Burton has been doing since she arrived at Givenchy, last September, awaiting the debut at the A/W fashion shows 2025-2026 in Paris. “There have been so many interpretations of it,” says the designer about the maison, which, in recent decades, is was directed by, among others, John Galliano, Clare Waight Keller and Riccardo Tisci, as well as her own former boss and mentor, Alexander “Lee” McQueen, whose brand she has led since 2010 (year of the founder's passing) to 2023. «I think that to move forward we need to go back to the origins, so as to be able to grasp the essence of a maison”.
Browse the lookbooks, commenting on the various models. «This was it a somewhat Hitchcock-like silhouette", she observes. «It's all a question of shape and construction. He used simple fabrics, such as cotton and silk. Maybe what I do won't be like that, but I like the idea to prune and create clothes for the human body, not for Instagram, with the help of a team of incredible people who still make things with their hands. And people have to feel it when they wear the clothes”.
If there is a person capable of grasping the emotional side of fashion, that's Burton. Her McQueen featured layers of almost high fashion craftsmanship, and she had the ability to evoke feelings in almost everything she drew. Her imagination is as powerful as her cutting ability is masterful in construction. If you try to imagine what her debut will be like, her statement «I love tailoring» is probably a good one starting point. «I'm interested in developing new silhouettes, which I hope they bring a touch of freshness to tailoring", she says. "Sometimes they will be clear, decisive, cut with a male hand, others will be sexier, seen from a female perspective. I want to build a wardrobe that includes all this. And I mean starting from the skeleton. At the center of Givenchy is the silhouette, and the effect it creates behind it is no less important than what it looks like from the front.”
And she continues: «Givenchy has a very beautiful story. To attract me it's the fact that it's a small house and that it's based in Paris. Me I like Hubert de Givenchy's relationship with the women he dressed: he was very empathetic." Burton is currently commuting between London and the French capital, where she is looking for an apartment: «I love it this city,” she says. «For years I have organized fashion shows here, but not there I really knew.”
Burton had previously worked for Givenchy, although not in a capacity official. She arrived at McQueen in 1997, when the founder of brand was making Paris gasp with its fantastic collections for Givenchy, sometimes sci-fi inspired, and she came often sent there, from London, with the props that McQueen created in her Hoxton studio. “I once traveled on the Eurostar with a robot at my feet,” she says.
The arrival at Givenchy followed a year-long break who worked in her small studio in central London, enjoying the idea of creating for the pure pleasure of doing it. «Power you stopping allows you to see everything more clearly and reconnect with yourself,” she says. This period allowed her to achieve the clarity necessary to start again. Now, on the threshold of debut, asks herself the same question that, in all likelihood, haunted Hubert de Givenchy seven decades ago, when he launched his brand: How do women dress today? «It's about living in real life, not to wear museum pieces,” says Burton. «Nothing too much elaborate. We must go back to the basics, to shape, to cut. Realize something that is both simple and beautiful is much more difficult".
FashionPower
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I hope she can balance the commercial and artistic side of her tenure and dedicate the right attention to both business. Clare failed miserably in that, her RTW shows were super inconsistent ranging from streetstyle mess (that was coherent to her persona) to basic blandness, however her couture shows were amazing and even got the right amount of PR publicity.
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