Winning the prize hands down for the title of ‘Shortest fashion show on record (including the designer taking his bow)’ 2010 went to Givenchy, yet surprisingly this detail was omissed from the the headlines Givenchy made at Paris Haute Couture Week. Riccardo Tisci’s collection was only 22 ensembles long, and the huge frenzy of the show was over after only just 7 minutes. In recent years the brand has been faced with a dwindling clientele, and it has really shown in the latest range.

Riccardo Tisci’s latest Spring/Summer 2010 collection was inspired by the 1970’s era and the start of fashion’s obsession with eroticism. His collection was not as risqué as it sounds, but there was evident use of many transparent fabrics and small sheer brassieres. The 1970’s café latte colour palette included beiges, creams and creamy browns, was juxtaposed with modern lilacs and deep purples. There were splashes of vibrant 70’s emerald green and electric blue sequin pieces, completing the collection with retro ‘glitter-ball’ inspired eye make-up. Smoky dark hues finished with silver glitter and a subtle 70’s burgundy lip colour.

Feathers featured heavily for a real 70’s feel, with beige brown ‘emu’ feathers creating a puffer jacket. A sheer silk scarf and lengthy feathers floated to create a light bounce to the outfit almost like a frothy café. Jumpsuits were lining the catwalk, with retro sequins and dark eye make-up added a glam-rock essence to the collection.

It was, however, the ball gowns that melted the audience though, with golden crystal bustiers crowning the gowns. From the bustier downwards, beautifully tailored silk organzas were draped from the models and finished in pom-pom swirls around the feet. Natalia Vodianova modelled the icing on the cake, a crystal bustier gown with a lilac to purple dip-dye skirt. Frothy dip-dyed ruffles started at her hips and lead the way down to the ground as they swelled outwards. Stunning!

However the highlight (pardon the pun) of the show was the lampshade-like millinery accessorising some of his collection. The white orbital halo headline hat piece was almost angelic but somehow resembled more of a modernist 1970’s interior lampshade. The plastic finish really encouraged the nostalgia of cheap 70’s patent finishes. Unfortunately I felt it ruined the dress, which it accessorized, the aesthetic finish of the plastic lampshade cheapening the expensive designer frock in my view. A black version of the orbital halo seemed to have been draped in black lace and matched a flowing black lace and silk gown, the outfit resembling a mourning gown with a slight Victorian influence or even a slight ‘Godfather’ trilogy inspiration.

From the label that is loved by the entirety of the staff at French Vogue, we hope to see yet more collections from the label under the directorship of Tisci, as he revolutionarily modernises couture for our modern times – a hard act to follow indeed.

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