With Sarah Burton’s debut at the helm of GivenchyParis Fashion Week also had his own standing ovation (not to forget: in Milan, the ovation went to Silvia Venturini Fendi). Smiles, approval cries, hot and sincere applause welcomed the 51 -year -old English stylist officially returned to the spotlight of the fashion industry. It is in fact the beginning of a new chapter for the maison founded by Hubert de Givenchy in 1952and the autumn -winter 2025/26 collection – call Under Construction (as if to emphasize the presence of works still in progress) – It is the tangible proof of this.
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Sarah Burton’s debut
Six months of waiting preceded the parade, which saw numerous celebrities in front of which the English singer Rayethe top model Marisa Berensonthe American actress Rooney Marathe British actresses Gwendoline Christie And Vanessa Kirby. It was September 2024 when the luxury LVMH group, of which the Maison Givenchy is part, announced the appointment of Sarah Burton as a new creative director. Exactly a year earlier, the English stylist had left McQueen, where he had worked for twenty -six years, first as the right arm of the founder Lee Alexander and then for thirteen years at the artistic reins of the brand. In those twelve months of absence from the catwalks, so much had been said and rumored on his possible – or not possible – return to the spotlight. Meanwhile, that armchair that had been covered for three years – and then definitively left since 1 January 2024 – by the previous creative director Matthew Williams continued to remain vacant. Happy epilogue, the appointment. And to Sarah Burton the arduous task of writing a new chapter.
Inspiration
There have been many clues that the maison scattered on social media in the days preceding the parade. Under Constructionthe Givenchy Autumn-winter 2025/26 collectionIn fact, it was anticipated by a series of quotes with which the new creative director made his inspiration known. “To advance you have to go back to the origins,” said Sarah Burton In accompanying a photographic shot that portrays a slightly coated paper envelope. Inside, a hidden treasure: the first high fashion sketches of the founder Hubert de Givenchy, made in 1952 and then rediscovered walled up in a hidden wardrobe of his first maison de couture.
The search for inspiration therefore began from here, from the origins of everything. From the Atelier engine, which Sarah Burton called “Heart and Soul of Givenchy”. By trusting his natural instinct, he went back in time to explore the cutting of the models, the silhouettes, the savoir-faire from which they took life. «I am interested in the intersection between craftsmanship and form – the creative director said. – The beauty of a very feminine tailoring jacket redefined through traditional male construction ».
Style
Twenty -six years in Alexander McQueen and not hearing them? Difficult to believe. Or rather, Difficult – if not challenging – will have been the stylistic exercise in which Sarah Burton has necessarily had to go down: detaching completely from the codes of the guided maison until a year ago to embrace new ones.
Surprising is that in Givenchy there is, however, a common thread that still binds it to Lee Alexander McQueen: He was also creative director of the brand from 1996 to 2001golden years that would then forge his subsequent career. To unite the two are undoubtedly (still) some distinctive elements, such as the point of view on the volumes and structures of the clothes defined by a sculptural approach. In fact, in the first collection of Sarah Burton for Givenchy there is in fact the peplumwhich sculpts and highlights the life point through the blazers, coats, clothes.
Between floral prints and maxi bows, the concept of cutting is also emblematicenough to become one of the main details. Sarah Burton uses it – in a generous way, but not too much – on skirts and backs. Radical and clear is also the cut of the bodices, built as parallelepipeds emphasized by behind Boxy And transparencies.
The accessory that struck us most
Beyond the tailored construction of clothes, A detail that announces the return of Logomania. With his undoubtedly commercial imprinting (is there anything bad?), The extensive logo of the maison – Givenchy Paris 1952 – becomes the Fil Rouge Of the collection: it occurs on the boots in sock, but also on bracelets and even on the top of the pierced. A signature, a seal. A new fetish with which Sarah Burton stamps the beginning of the new era.
Source: Vanity Fair
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