Givenchy Haute Couture Fall 2012

Wearable sculpture: a phrase that in my opinion best describes haute couture and a phrase that deservedly describes the Givenchy Haute Couture collection. What is haute couture if not superb craftsmanship, hand-made in every detail, the climax of creativity and innovation in fashion, what pushes the limits of fashion by playing with ideas, form and cut to maintain the credibility that fashion is an art form? So why not leave art what belongs to art and consider haute couture what is above just beautiful, what broadens your mind, what makes you think beyond likes and dislikes and what is so extraordinary that you can honestly call its creator an artist, someone you can place next to a painter, composer or sculptor?

I am the first one to admit that simplicity and wearability are two qualities that define my taste when it comes to ready-to-wear fashion. I am very subjective when it comes to fashion and I often look at the collections through the eyes of a potential customer, sort of speaking: would I wear this? But haute couture … that’s completely different. Or so it should.

Mark Tungate, in his book Fashion Brands: Branding Style from Armani to Zara, stated something very true: “as ready-to-wear increased in sophistication, price and marketing support, taking on the names of designers that might previously have been associated only with couture (Yves Saint Laurent Rive Gauche was the pioneer in this field), it nudged haute couture slowly towards irrelevancy.” Yes, it seems that way when you look at all the other couture collections this year. Givenchy, through the wonderful work of Riccardo Tisci, truly stands out, making us remember the origins of fashion and dream about its future. The tailors of dreams, that’s another expression I like to use for haute couture.

PS: Why aren’t all the designers showing their collections both from the front and back? Or why aren’t the accredited photographers do this? I, for one, want to see the design as a whole.

photos: vogue.com


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