Givenchy. Pre- Fall 2021 Menswear

 

(Images:  Givenchy)

Matthew M. Williams, as discussed in my review of his signature label Alyx for Spring 2021, is one of the fashion success stories of the 2000s and indicative to the 1990s entrepreneurialism of hopes and dreams that was indeed a prelude to the digitalized social media expectations that we have today.  It was also the beginning of hyper consumption, more so the lust for brand names devoid of any historical context of the prestiges fashion houses of yesteryear, wiped over with the brush of conglomerate branding.   And, even with the Covid-19 virus, which has caused massive disruptions throughout the global economy, the recovery speed of Chinese luxury buyers coming back on line has been astounding.  To which LVMH Moët Hennessy Louis Vuitton the power house that owns Givenchy, like their competitor Kering who owns Gucci, have been since October revving up sales to fill the gap which has been left in a pre and post Covid-19 world in all of its economic and social confusion.  The bet (and urgency) is still on that China will offer a reprieve to Western luxury brand's crunched profit margins, the question is how long can the cashless Chinese consumer withstand the price hikes on international goods?  And what might be soon a panic run on essential items.  Inflation is just around the corner.  Yes, regardless of sales expectations 2021 will unfold into interesting times.

Williams, in his idealism of fashion, claims that his aspiration in designing clothing is not of a themed concept per se, rather, from what I have read and seen so far from his collections with Givenchy, he is seeking to emulate and understand the couture styles of a bygone Givenchy.   Not as a mood board of inspiration like previous Givenchy designers, but perceived as a respectful nod to the late Hubert de Givenchy's couturier techniques of 1950s exclusivity before ready-for-wear began to push the elegance of couture to the sidelines.  Although it maybe unlikely that Williams will return to the ballroom gowns ala John Galliano's 1990s and early 2000s tenure with Givenchy and Clare Waight Keller's flowing Nouvelle stylizations,  he has decided to embark on a sleeker imprint, reducing the extravagance, whilst wishing to hone in on the craftsmanship.

There is no doubt that he is a shrewed designer, but I have noticed that his fittings, particularly for the the pre-fall lookbook are slightly off with many of the styles revealing bunched up hemlines, note:  around the ankles – with a generally ill fitted array throughout.   And since Williams is aiming for the more tailored and refined Givenchy styles, there should have been a keener eye, more so from the stylist, to ensure that the clothes on display are proportioned and styled correctly.  Even if slight design flaws have occurred that need tweaking at some point prior to an official release, a good lookbook shoot will hide any minor indiscretion of the looks on offer.  Which may not be that obvious to the viewer, but should be studied by the design team before an official lookbook is released, this clearly didn't occur. 

A rather sloppy Pre-Fall release for Williams second collection for Givenchy.  The issue is not the overall designs, but the cuts and fits which are dreadful.  Overhanging cuffs, boxed up hemlines on dresses.  And it is fine wool, particularly heavier yarns that can be difficult to tame, in which Williams seems to have struggled on most of the pieces, seen predominately on the blazers and coats.  Which makes me wonder if the collection was hand cut rather than laser cut?  Or just a rushed affair.   Either way a disappointing start for Williams's later Fall 2021 styles, with his sentiment for craftsmanship described as a show note, it is clearly lacking in its presentation.