PARIS, Mar 1, 2006/ FW/ --- When Hubert de Givenchy relinquished control of the fashion house that he had created 44 years earlier, he left not only a major player on the world scene, but a major problem as well. Ten years later, Ricardo Tisci is the fourth pretender to the throne to have arrived at the celebrated maison, taking up what many had come to see as something of a poisoned chalice.

Counting both Alexander McQueen and John Galliano amongst the designers who had come and gone in that period, it appeared as though, with the spirit of Monsieur Hubert stalking the grandiose studios and salons of the company, talent itself just wasn’t enough. After the lukewarm reception to the young Italian’s debut collection these fears were amplified and some voices, even within the house itself, questioned whether he in turn would be merely a temporary incumbent of one of the most blistering hot seats in fashion. To say that the pressure was on Tisci this time around would be putting it mildly and, with rumors of poor sales persisting, this pressure transcended the artistic direction to be felt by the whole house.

The inspiration for the designer’s darkly romantic style comes from his childhood visions of what could be in the woods for his mother to tell him not to play there but, as the relentless marching beat of the show’s soundtrack kicked in, he could be forgiven for thinking that what awaited him on the other side of the curtain was more sinister than anything that lurked in the half-light of youth’s fertile imagination. Yes, many came to bury him but this was far too convincing a collection to satisfy those who were drawn only by the scent of blood.

With what it should be remembered is only his second attempt, Tisci went a long way here to silencing his critics. It was bold, confident and modern; all while staying true to the spirit of the company’s founder. Cynics may interpret the opening looks of little black dresses as an overt attempt to bolster sales but they were contemporary and unassumingly elegant; the simplicity of the silhouettes disguising the complexity of the fabrication. A harder edge was given through the styling with leather elbow gloves, sheer stockings and shoes that were both feminine and firm.

Black may be the color of the season, but for Tisci it has always been his calling card. The sparing use of color that followed therefore rendered it more positive and beautiful: sure touches of scarlet lace detailing on simple white blouses emphasizing the minimalist nature of the statement when paired with pencil skirts or high waisted trousers.

Large coats that resembled fur, but were actually made from ostrich feathers, followed as did architectural knits and the designer’s vaguely gothic signature dresses in flowing tulle, but all had the discreet, unfussy lines of modernity.

This was an accomplished collection on many levels: well designed, superbly constructed and with a high level of production. Hopefully now Givenchy will at last be emerging from the shadow of its eponymous creator. The king is dead, long live the king.

Givenchy

Givenchy

Givenchy

Givenchy

Givenchy