After leaving Chloe and joining the Givenchy house back in May, Clare Waught Keller spent the whole summer searching through the archives of the brand. What she found was 18th century chateau in the Loire Valley where Count Hubert de Givenchy, the founder of the brand in 1952, is currently leaving. Being a father of the little black dress and the connection to the Audrey Hepburn was enough influence to form her ideas od timeless elegance in time she was growing up. Meeting with the designer himself and presenting him the newest collection, was greatly supported and approved by him. In her first collection for Givenchy, Keller moved away from the all previously boho romance. She named it “Transformation seduction” – name with a reference of her leaving the Chloe brand and coming to the new house.
Looking back in the sketches at the before mentioned house, she realized that everything started with shoulder and graphic print. The two prints she chose were clover from 1961 and animal print from 1981. The color palette came from the archives, too. It was restricted to black, white mint and red. The runway pieces featured the shoulder and the prints. The show started with double-breasted coat with buttons. Then followed breezy dress n clover print, in 3 different sizes. On a first look, this was not the high-fashion that was expected from the house. Riccardo Tisci transformed Givenchy into red-hot Parisian labels, without even looking at the archives. Having previous success in the accessories department, she introduced a GV3 – handbag with multiple straps.
The softer side of the collection was presented into variety of dresses. The famous little black dress was there into several variations. One was mini with transparent Bettina cape sleeves with leopard spots and front ruffles. The other was an asymmetrical plisse cocktail dress with a mega-ruffle on the sleeve. These were the ones that presented that sweet glamour. After Tisci, the collection was appealing but a bit flat. Her statement of vision was clearly presented and it was expected to be a little imperfect. The new look that the brand has, under Keller, is expressing a lack of significant causality, something that was known for Tisci, but further balance of ownership and esthetics might just bring the house into some new fashion direction.