Lead ImageGivenchy Spring/Summer 2026Courtesy of Givenchy
If you want a house all your own, you need to build. That’s what Sarah Burton is doing at Givenchy, namely building on the foundation she established last season, of forceful tailoring, of mid-century shaped couture gowns cut to new proportions, of dresses crafted straight from the room known in French as manutention, where the bolts of fabric are stored. Her Givenchy is about making, a couture house as a place of work.
51Givenchy Spring/Summer 2026
For Spring/Summer 2026, after laying down her philosophy, Burton started to strip away. “It started with peeling back the structure of tailoring to reveal skin,” she said. She began that process last season, twisting jackets around back to front and – in retrospect, somewhat demurely – nicking them at the décolletage. This time, they were entirely wrenched open, dissected, peeled back from the shoulders and crushed around the arms, fabric framing. Some would see that breast-baring as vulnerability, but Burton perceived it as part of a message of “powerful femininity”. It was reinforced by clothes cut on the curve with sculpted hips and rounded sleeves, by swathed fabric emphasising hips and breasts, and cut-out brassière tops that had a latent sexuality. Stripping back gets to your underwear, after all. “The female vocabulary of dress and undress,” Burton said. “Feminine archetypes.”
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy Spring/Summer 2026Courtesy of Givenchy
A few designers of late – those ensconced in historic Parisian houses, many being revived for the umpteenth time – have talked about how our perceptions of the golden age of couture are coloured by fashion photography. Or rather, how their colours are desaturated, stripped to black and white, pure line and form. At Givenchy, however, that was the graphic reality – it’s a house based effectively on the little black dress and the first outfit here was just that, and lovely for it, and a crisp white blouse. Some outfits collided the two, with slivers of fine white cotton linings just visible inside sculpted black dresses, one hung with deconstructed pearl necklaces in a paradoxically open yet abstracted homage to Audrey Hepburn in Breakfast At Tiffany’s. Well, you have to do it. Takes the bull – or, rather, sacred cow – by the horns.
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy is also about tailoring. Hubert de Givenchy was a disciple of Cristóbal Balenciaga, and his technique was formidable, not least because upon the retirement of the former in 1968, he employed most of his workforce. Balenciaga also literally led many of his clients across the Avenue George V to be dressed by the designer he saw as his protégé. Alongside the curved and diced-up looks, there were strict linear trouser-suits, impeccably cut, ostensibly masculine but with perception reshaped by the power of the feminine within. Those leapt out as the strongest looks of the show – certainly the most real, and a melding of Burton’s strength with Givenchy’s spirit. We could’ve seen a dozen of them.
Conveying craft through a finished product is kind of difficult – it’s easy to end up hanging heavy with effort, smothered with handwork, stifling the figure. Burton eased it all up – she even called some looks “bed sheet dresses,” wrapped loosely and easily around the form, silhouette reduced to the bare essentials, an interplay of approaches. Fashioned literally from a piece of fabric. Burton described “a sense of lightness and ease”, ripping the stuffing out of a couture house, as a way to make it feel relevant for now. Burton’s exercise is still in process, but it’s yielding results.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing tags from
Lead ImageGivenchy Spring/Summer 2026Courtesy of Givenchy
If you want a house all your own, you need to build. That’s what Sarah Burton is doing at Givenchy, namely building on the foundation she established last season, of forceful tailoring, of mid-century shaped couture gowns cut to new proportions, of dresses crafted straight from the room known in French as manutention, where the bolts of fabric are stored. Her Givenchy is about making, a couture house as a place of work.
51Givenchy Spring/Summer 2026
For Spring/Summer 2026, after laying down her philosophy, Burton started to strip away. “It started with peeling back the structure of tailoring to reveal skin,” she said. She began that process last season, twisting jackets around back to front and – in retrospect, somewhat demurely – nicking them at the décolletage. This time, they were entirely wrenched open, dissected, peeled back from the shoulders and crushed around the arms, fabric framing. Some would see that breast-baring as vulnerability, but Burton perceived it as part of a message of “powerful femininity”. It was reinforced by clothes cut on the curve with sculpted hips and rounded sleeves, by swathed fabric emphasising hips and breasts, and cut-out brassière tops that had a latent sexuality. Stripping back gets to your underwear, after all. “The female vocabulary of dress and undress,” Burton said. “Feminine archetypes.”
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy Spring/Summer 2026Courtesy of Givenchy
A few designers of late – those ensconced in historic Parisian houses, many being revived for the umpteenth time – have talked about how our perceptions of the golden age of couture are coloured by fashion photography. Or rather, how their colours are desaturated, stripped to black and white, pure line and form. At Givenchy, however, that was the graphic reality – it’s a house based effectively on the little black dress and the first outfit here was just that, and lovely for it, and a crisp white blouse. Some outfits collided the two, with slivers of fine white cotton linings just visible inside sculpted black dresses, one hung with deconstructed pearl necklaces in a paradoxically open yet abstracted homage to Audrey Hepburn in Breakfast At Tiffany’s. Well, you have to do it. Takes the bull – or, rather, sacred cow – by the horns.
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy Spring/Summer 2026Courtesy of Givenchy
Givenchy is also about tailoring. Hubert de Givenchy was a disciple of Cristóbal Balenciaga, and his technique was formidable, not least because upon the retirement of the former in 1968, he employed most of his workforce. Balenciaga also literally led many of his clients across the Avenue George V to be dressed by the designer he saw as his protégé. Alongside the curved and diced-up looks, there were strict linear trouser-suits, impeccably cut, ostensibly masculine but with perception reshaped by the power of the feminine within. Those leapt out as the strongest looks of the show – certainly the most real, and a melding of Burton’s strength with Givenchy’s spirit. We could’ve seen a dozen of them.
Conveying craft through a finished product is kind of difficult – it’s easy to end up hanging heavy with effort, smothered with handwork, stifling the figure. Burton eased it all up – she even called some looks “bed sheet dresses,” wrapped loosely and easily around the form, silhouette reduced to the bare essentials, an interplay of approaches. Fashioned literally from a piece of fabric. Burton described “a sense of lightness and ease”, ripping the stuffing out of a couture house, as a way to make it feel relevant for now. Burton’s exercise is still in process, but it’s yielding results.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.