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Welcome to the new Givenchy—as envisioned through a woman’s eyes. It’s been a little over six months since Sarah Burton joined the French house as artistic director in September 2023 (the second woman to do so in Givenchy’s history, after Clare Waight Keller’s tenure from 2017 to 2020). Today, the beloved designer, who is best known for her legacy as Lee Alexander McQueen’s former assistant-turned-eventual-creative-director (she was present at the brand from 1997-2023), debuted her Givenchy collection at Paris Fashion Week on Friday. Burton was inspired by the structured silhouettes found in Givenchy’s archive; in particular, Hubert de Givenchy’s first show in 1952, which was full of pieces so directionally simple that they had a strikingly graphic quality about them.
The show opened with a model wearing a black fishnet catsuit that felt like something of a palette cleanser before moving into the rest of the collection. Each look was inspired by a hidden trove of Givenchy calico patterns discovered in Hubert de Givenchy’s first maison during a recent renovation of the building. There were easy-to-wear, everyday pieces with dramatic flounce. Suits came oversize but tightly nipped at the waist, sleeveless dresses had hemlines that exploded into ruffles, and coats and jackets came with rounded, puffed-up shoulders like a cocoon.
During a time when so few women creative directors are in positions at major brands, Burton’s appointment and understanding of the female form—and how women want to dress—feels especially exciting. It wouldn’t be an understatement to say her debut show was emotional for even the most jaded fashion followers for this reason. The runway show was also one of the only this season in Paris to feature body-diverse models. “I want to address everything about modern women,” Burton wrote in the show notes. “Strength, vulnerability, emotional intelligence, feeling powerful or very sexy. All of it.”
As a heritage brand, Givenchy has long been linked to deeply traditional feminine dressing, thanks to Hubert de Givenchy’s famed costumes for Audrey Hepburn in Breakfast at Tiffany’s in 1961. But Burton eschewed the old with a new take on dressing that felt girlish without restraint. The voluminous tulle mini dresses decked with capes felt especially true to this narrative. Of course, there were bows—but they were droopy and floppy rather than prim and proper. Necklines were subverted with surrealism: placed extra-high with cascades of fabric flowing to form dresses worthy of a minimalist’s dream.
Burton put a heavy focus on the everlasting impact of the color black. But she also experimented with pops of color, like lemon yellow. Herringbone tweeds in deep shades of gray were accented with ombré swaths of black at the hemlines. The final gown that closed the show was a sunshine-hue tulle spark of joy.
The looks toward the end of the show seemed to draw from the shapes of kimonos and obi belts. Another nude mini dress was covered in makeup sponges and compacts—perhaps a subtle commentary on women’s beauty standards. One top was constructed entirely of giant chunky crystals, gems, and chandelier parts, paired with baggy black pants. It was in this section of the show that Burton took the most risks—and they paid off. With only one collection under her belt so far, Burton is clearly still forming the identity of her own Givenchy. But one thing’s for sure: the fashion world will be waiting to see where else she takes the legacy house.
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