Loud reshuffles in the fashion world continue. 2017, the anniversary year for Givenchy, founded in 1952, began with a scandal: Ricardo Tisci, who had determined the face of the house since the mid-2000s, decided to leave.
Rumors that Ricardo Tisci will leave the post of creative director of the house began to circulate on January 31 and were confirmed on February 2. According to one version, the reason for the departure of the great designer was the intrigues of his girlfriend Donatella Versace, who allegedly managed to finally lure him to her.
The basis for such assumptions is the close friendship of designers, which in 2015 even resulted in an incredible Givenchy advertising campaign featuring Donatella Versace. In 2015, having become the advertising face of Givenchy, she made a loud statement to the press: “I think that you need to break the rules. Ricardo Tisci is incredibly talented and is also my friend. We are Family. I want to get rid of the old system, work together, support each other and make the fashion industry a truly global community."
Whether she was talking about a one-time collaboration or working for one brand is still unclear, but if Donatella herself can afford to break the rules (Versace - private company), then for Ricardo Tisci it was a very bold step (the house he headed before last moment, is part of the LVMH group).
Ricardo Tisci, Donatella Versace and Naomi Campbell
Alessandro Bianchi/ReutersThe ex-director himself claims that he is leaving the position due to the fact that his contract has come to an end.
Another reason is Tisha's long-standing dream of creating clothes of her own brand. The designer had plans to launch his collection even before the work at Givenchy, which he started in 2005. According to him, having received a job offer from a fashion house, he did not want to accept. However, financial difficulties forced the designer to accept the offer.
The Pre-fall 2017 women's and men's collections, as well as the Haute Couture collection shown in January, were the Italian fashion designer's latest creations for Givenchy. At the Paris pret-a-porter fashion week, which will take place from February 28 to March 7, the Givenchy show will still take place, but the line was created under the creative guidance of the house's in-house designers. Who will take the place of the new creative director is still unknown.
For 12 years of work, Ricardo Tisci managed to develop for the home form style, which was lost after the retirement of the founder of the brand Hubert de Givenchy in 1995.
At the time of Givenchy, the brand personified the elegance and aristocracy that suited the muses of the fashion designer - and. But in the mid-90s, the era of glamor began. Between Givenchy and Tichy, the brand was led by designers more suited to other fashion houses.
Charles Platiau/Reuters
In 1995, by decision of the head of LVMH, he was invited to replace Hubert de Givenchy. He immediately attracted attention with his frilly and at the same time provocative collections, demonstrated with a theatrical effect unexpected for that time. However, his talent was more suitable for the Christian Dior house, so the designer was transferred to another brand, and his place was taken. But he didn't fit the job either.
The collections created by the designer have been subjected to serious criticism more than once. Then fashion designer Julian McDonald took over the post, but he did not last too long.
Tisci, who joined Givenchy in 2005, not only brought stability to the legendary brand, but also revived it for a new generation of luxury consumers.
Now Givenchy is associated with a sexual provocation that echoes street fashion.
It was Ricardo who introduced the gothic trend in clothing, he also came up with a print with a huge star, and his T-shirts with growling Rottweilers (autumn-winter 2012 collection) became iconic.
Photo report: How Ricardo Tisci entered fashion history
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Tisci wanted his clothes to be worn by people. different ages, sexes and races. One of his favorite muses is the transgender Lea T, whom Tisci made the face of the fall 2010 collection.
The designer has repeatedly created images for world stars. Concert dresses and Beyoncé, evening dresses for Madonna, and Rooney Mara, wedding dress. One of Ricardo's latest ideas was to expand Givenchy's reach as a lifestyle brand by introducing a range of clothing for babies and children.
Riccardo Tisci took Givenchy to the next level. Today the brand has 72 stores (there were seven before Tisha's arrival). In addition, the company recently took over the direct distribution of its collections in two key luxury markets: Dubai and Singapore. With the arrival of Ricardo Tisci, Givenchy's profits increased more than six-fold, according to market sources. And the number of employees of the company has tripled - from 290 in 2005 to 930 now.
(Riccardo Tisci; born August 8, 1974) – famous italian fashion . In 1999 he graduated from the prestigious London educational institution Central Saint Martins Academy.
In 2005 he was appointed to the post of creative department designer women's fashion and French Givenchy. In 2008, he also began managing Givenchy's menswear and menswear departments.
The designer's passion for the gothic and the era of minimalism, embodied in the works for the Givenchy fashion house, contributed to attracting a new wave of attention from critics and buyers to the brand. Before Tisha came to the post of creative director of the brand, reviews of Givenchy were rather vague and infrequent, but now the designer is called the future of the fashion house. According to critics, he brought Givenchy to life with his precision and unusual imagination.
In February 2017, the designer decided to leave the Givenchy Fashion House, having worked as the creative director of the brand for 12 years.
Biography
Riccardo Tisci was born in 1974 in the Italian city of Taranto, founded by the inhabitants of Sparta as a city-state in 706 BC, and known for numerous myths about mermaids and other sea creatures. This mysterious theme can be traced from time to time in the design works of Tisha in different directions.
The youngest of nine children, Riccardo, was the only son in the family. His mother Elmerida lost her husband very early and was forced to raise her children alone. The family was so poor that the state almost took the children away from Elmerida to take them under its care. Riccardo himself, as a child, wore out the clothes of his sisters, altered for him. With no money for school trips and other trips, the mother was constantly inventing entertainment for the children, trying to make up for the lack of what others had. But Tisha alone was always enough with his head: he literally bathed in the love of nine caring women.
“We never had enough money, so my childhood was hard. The ingredients of my work were Latin romanticism and the forces I needed.
“We were poor. Poor in the sense that they mostly ate once a day.”
Tisci grew up in the Italian commune of Cermenate and, in order to somehow support his family, from the age of 12 he took on any job, from a plasterer to playing the role of Santa Claus on Christmas holidays. In addition, Riccardo distributed leaflets, worked in nightclubs and was an assistant to local florists.
At an early age, the boy showed a unique talent for drawing. He plunged into the mythological, fictional world of centaurs, and later became interested in music: he began to listen to the Cure group and became obsessed with modern musical culture and.
"Honestly, I love art and music even more than I love fashion."
In 1990, Riccardo won an internship with the textile company Faro in Como, which later allowed him to work for Paloma Picasso, creating ornaments, drawings and designs.
Tisci excelled at school, but, due to poverty and the inability to pay for education, he had no prospects for further education. At the age of seventeen, disillusioned with the policies of Italian President Sandro Pertini, Riccardo decided to try his luck by leaving for London.
“The moment my feet set foot on the ground in London, I knew this was my chance. I felt the energy of this city."
"I came to London to survive."
Within a few weeks of staying in London, the young man managed not only to master English, but also to find work in hotels and restaurants in the city. One day, on the tube, he picked up a free newspaper and saw an advertisement for the London College of Fashion. Tishi entered training without any problems, and Priyesh Shah became his mentor. It was he who noticed the unique talent of Riccardo and arranged him for an internship with his business partner. Berardi, in turn, encouraged Tisci to enter the prestigious Central Saint Martins College of Art and Design Academy. The young man managed to successfully pass the entrance exams, but he did not have money to visit the Academy. Willy Walters, director of the fashion course, insisted that the young man should not give up trying to start studying and apply to the state for a scholarship. Tisci subsequently won a grant that gave him a pass to the second year of a three-year study program at Central Saint Martins.
“I dreamed of being independent, having a real opportunity to express myself, learning to sew.”
In 1999, Tisci graduated with honors and, despite the dominating dark style of the time, he proved that he could attract attention with the sexuality and lightness of being expressed in his dissertation, which was inspired by the films of Pasolini and Fellini. To attend Riccardo's graduation show, his mother left Italy for the first time and made her first flight. Since then, she has not missed a single show of her son.
After studying the archives of the fashion house, Tisci decided to continue working in the direction that characterized the brand in the 50s and 60s. He created full-fledged images, adding accessories, shoes to them, and even keeping in mind the woman who would wear all this. He came to the office at 6 in the morning, along with the cleaners, and left workplace after midnight. One fine day, having learned about such devotion to his work, Hubert Givenchy himself invited the young designer to breakfast at his mansion.
“He was so sweet and hospitable. And he didn’t talk about fashion at all during the meeting.”
After showing Tisha's first collection for Givenchy Haute Couture, Queen Rania of Jordan called the office of the fashion house and asked Riccardo to design a complete wardrobe for her. When the fashion designer flew to London, the Queen greeted him fully dressed in Ricardo Tisci.
Unlike most other designers who have worked at Givenchy since the departure of the founder of the brand, Riccardo Tisci not only achieved positive reviews from critics, but also contributed to a significant improvement in the financial situation of the House. In his collections, he presented not only stylish and original, but also practical, wearable wardrobe items. His Haute Couture collections also became a great success.
“When I started working, we had only 5 clients from the Haute Couture line. Now there are 29 of them.
In 2008, in addition to the lines already under its control women's clothing and accessories, Riccardo Tisci began to design collections of clothing and accessories for men. Here, too, he made his mark, offering unexpected and bold solutions, such as sweatshirts in sequins or lacy pinks.
"IN Lately fashion can be found anywhere. This is rather strange. When I was a kid, Versace looked like Versace and Armani looked like Armani. You could always figure out who did what, whether you liked it or not. Now I see similarities in many things. But only those who go their own way, work on their own style, will achieve success.
Under the Givenchy brand, the designer also designed costumes for Madonna's Sticky & Sweet tour in 2008 and for the number for the song "Candy Shop" in 2009. In addition, Tisci created the singer's clothes for everyday life.
In 2009, the designer began to develop the first inexpensive line of the Givenchy Redux fashion house.
Riccardo Tisci included the well-known transgender model Lea T, who worked with him for many years and was his assistant, in the Givenchy show of the autumn-winter season of 2011. In the same year, after a long work with the main "nose" of Givenchy, the designer introduced a new brand fragrance - "Dahlia Noir".
Also in 2011, the fashion designer was named the main contender for the post of dismissed from the House. At the end of the year it became known that this information was not confirmed.
In February 2017, the designer decided to leave the Givenchy Fashion House.
Other projects
In 2008, Riccardo Tisci oversaw the creation of the 8th issue of A Magazine. The designer also took part in the creation of individual issues for a number of other glossy publications, for example, Dazed & Confused, Visionaire, Muse.
The boundless love for music led the designer to collaborate with famous hip-hop artists Jay-Z and Kanye West. In 2011, he became creative director of their collaborative album Watch The Throne, designing the artwork for the CD and two singles ("H.A.M" and "Otis").
In the same 2011, Tishi collaborated with the world famous brand. For this brand, he created an exclusive sneaker model.
“When I do something, I put all my strength into it.”
Awards and ratings
In 2008, Tisci was awarded the title of best designer by Marie Claire.
Blog by Riccardo Tisci: www.ablogcuratedby.com/riccardotisci
Givenchy official website: www.givenchy.com
Donatella Versace interview with Riccardo Tisci for Interview magazine (June 2011)
D.V.:Let's talk about your latest collection, which I find very beautiful and sexy. I would love to wear everything!
R.T.: Bravo! In fact, the collection is very Donatella-esque because it is about a strong woman. I find inspiration in different sources, and one of these sources is the house of Versace. You know, when I was a little boy, we were very poor. My dad passed away when I was 4 or 5 years old. I grew up with my mother and eight sisters. These are nine incredible women and all a little “a la Donatella Versace”. real, strong women from the South of Italy, women who had sensuality. They had confidence in their bodies and in their femininity.
D.V.:The fact that you have as many as eight sisters, in my opinion, is very good.
R.T.: Quite right. And even if they did not have the financial means to dress fashionably, they were women with a graceful style. The elegance of the South is a very strong elegance and I try to convey that to others. This is sexy elegance, or, to put it another way, less chaste. Then it was the end of the 70s and the beginning of the 80s, a special time not only for the Versace fashion house, but also for me, since my sister, who worked in a hairdresser, brought home on Saturdays fashion magazines. This period introduced us to many top models and celebrities, like you and Gianni, as well as things that made me dream. These early impressions had a strong influence on me.
D.V.:The early 90s was a particularly amazing period for fashion because it was the height of allure, and there were no limits on what you could do. But I see that you have not stopped pushing the boundaries, you are always moving forward. This feeling is felt in your collections, which I admire.
R.T.: Thank you!
D.V.:Has your initial passion for those things remained the same, or has it subsided?
R.T.: I have to be honest: the only thing I believe in is my family. For me, family is more than just DNA. I mean people close to me. My mother and my sisters are my energy and inspiration that feed me throughout my life. Fashion is my job. I like it. This is my passion. But the most important thing for me is life. I have always been surrounded by women, and I am very attracted to the world of women, because I love both strength and romanticism at the same time. All this you can see in my style.
D.V.:It is clear from the things that you create that you know the body of a woman. You know how to revalorize it.
R.T.: Imagine all my sisters. Each of them had their own form and lifestyle. So my path to becoming a designer was pretty specific. Even when I came to Givenchy, there were people who supported me, but not everyone loved me. They said: "Why does an Italian create things in the Gothic style?", not taking into account the fact that Italy is the cradle of the Gothic. But they argued: “No, Italians should only do sexy things!” My base is Italian roots. And this is a strong passion for fashion and a passion for sensuality. When I went to London to study at Saint Martins, I got a sense of transgression and goth. And when I went to Paris, I mixed these two directions in myself.
D.V.:In your latest collection, you could observe an improved sexuality.
R.T.: I hate vulgarity. I hate vulgarity even though it attracts me. I love everything that is infringing or vulgar. But, in my opinion, you need a limit, which is always a little surreal. Fashion house Versace creates very sexy things, but never crosses that line of sexuality and vulgarity. Many other brands that have tried to outdo Versace have crossed that line. I think you and I, Donatella, are similar in this. We have this sense of proportion. It makes me proud to be Italian. I am proud of what I do.
D.V.:When I worked with Gianni, it was I who was the person he could trust and say anything. If I didn’t like something, then I honestly spoke about it: “No, no, no! Do something else." Is there such a person on your team?
R.T.: Certainly. It is very important. Even though I have a small team. For a male designer, it is very important that he listens to some kind of female opinion. And as I told you, my luck depends on the women around me. On this moment in my life there are women whom I adore and appreciate, for example, Maria Carla Boscono, and Marina Abramovic. Many people think that for many years Karin Roitfeld was my stylist. And this is not true. She was just Maria Carla Boscono to me. Yes, there are some people whose opinion I want to hear first. But it's still my way. Maybe with age I lose a little. It's hard to convey. After all, there are two or three people on my team that I always listen to.
D.V.: Knowing your character, it's hard to believe what you're doing!
R.T.: Yes, that's because I'm from the South of Italy. And I'm proud of it. I develop all projects together with my team. She's small, but she's fantastic. I listen to someone's opinions because they are important to me. I am a Leo by the zodiac sign and it is important for me to stand firmly on my feet. But I also have a softer side. On this side, I am a little boy who has not yet grown up and for whom it is important to listen to others.
D.V.:I would like to note that the transparent shirts you created this year are simply amazing.
R.T.: Donatella, you are definitely a Givenchy woman! I say this because I want the world to know this. You are the epitome of a true Italian woman. There is pure American rock chic, British chic, but Italy has always been the epitome of all that. We have repeatedly tried to make a joint project. I would really like to see you in Givenchy clothes.
D.V.: I would be very happy about it. I have already chosen a few Givenchy items for myself.
R.T.: Which? Tell me!
D.V.:I liked the jacket with the lacquered trim. He has wonderful proportions. Narrow to the knees, without pantyhose - very sexy.
R.T.: Naturally! After you create the same things for a long time, you have a desire to come up with something new. And this season has been just that. I don't like shock per se, I like shock chic.
D.V.:Americans really love you, but I find that you are not the kind of designer who has an American sensibility. You have more European, Italian sensibility.
R.T.: I am an absolute Italian! And this is a very precise concept. But the United States of America also attracts me. Why? A small child from a poor family in southern Italy had a dream to visit the Big Apple. I don't really like classical music, I like the kind of music that Americans listen to. I love the American ghetto. I love the Bronx. I love hip-hop and R&B, I love electro-latino, latin music and stuff like that.
D.V.:I like to work when the music is playing at full volume.
R.T.: Yes. And I love finding new things. For example, right now I'm listening to Nicki Minaj and Antony and the Johnsons. I also love changing musical directions. I like the conceptual aspect of Anthony Hegarty (lead singer of Antony and the Johnsons) and anything in the style of Lil' Kim, Missy Elliott and Ciara. I love what evokes emotions in me. Because I'm Italian. Marina Abramovic is a close friend of mine, so I like strong, very aggressive political art. She is like a mother who wants to adopt me. People say, "You're dark, you make dark clothes, you probably like The Cure or Diamanda Galas." Yes, I love Diamanda Galas, but I also love Madonna, Beyoncé and Courtney Love. They are all from different worlds. They are all different, but they evoke emotions in me. I am someone who needs emotions, someone who wants to convey them. Otherwise, I would have changed my profession.
D.V.:Clothing evokes emotions in the same way that music does.
R.T.: Quite right. Every now and then she makes my heart beat like I just met my first love.
D.V.:Your latest couture collection made me feel strong emotions. It turned out beautiful, modern and very stylish. It can be seen that she is made great.
R.T.: When I started, everyone said that the era of Haute Couture was coming to an end, and it scared me. More to the point, I was terrorized by this idea. I came from a provincial region of Italy. When I was invited to work at Givenchy, the only thing I thought was: “Wow!” I signed a contract. But I'll be honest and say that I went through all this just because of my mother, to buy a house for her. Then I didn't even think about what I was doing. It could not be Givenchy, but any other company ... I didn’t care, I just didn’t want my mother to live in a nursing home. I have nothing against nursing homes, but my mother, who went through so many trials, who raised nine children ... I could not allow this. So, I started working at Givenchy. And I want to say that the era of Haute Couture is not over at all, it is simply undergoing changes.
D.V.: I agree with you.
R.T.: Couture was the first phase of my career. Couture has changed because, for example, there used to be princesses, they are still there, but they no longer ride horse-drawn carriages, but go to parties, go to resorts, sail on yachts. They all want to be in constant motion. I understood this, and immediately began to create things for such girls. In addition to haute couture, we also create men's and pret-a-porter collections. When you do all this, you want to somehow differentiate directions.
D.V.: It is better to do not so many things, but to make them amazing. Your samurai pieces (from the Haute Couture Spring-Summer 2011 collection) seemed ingenious to me. Rigidity and softness come together without weighing each other down. It is excellent.
R.T.: You can say that in this spring couture collection I showed the romantic side of my nature, because everyone thinks that I am gloomy, like a Rottweiler. I show this romantic side to few people. I can only open myself to people like you Donatella, because we have known each other for 5 or 6 years. I still remember our first meeting with you. You were then with Miuccia Prada at a dinner at the editorial office of Vogue Italia. We stood upstairs and smoked. You introduced yourself and I thought you were a very tough woman. So we started to be friends.
D.V.: I am very happy to see such a talented Italian designer in Paris. And your last show (Autumn-Winter 2011) reminded me of Gianni.
R.T.: You are not the only one telling me this. You know, for most kids, robots or Barbie dolls were an obsession. But my obsession was the fashion house Versace. I was saving money just to buy a Versus T-shirt. I was fixated on it. Today I am still the same fan of Versace and Versus. In fact, the Versace shows were the only shows I attended. I only work in fashion because of the few designers I admire. And this does not mean that I do not like all the others or that I consider them bad designers. I'm just very selective. I love Versace and I love Helmut Lang even though the brand no longer exists.
D.V.: You also dress celebrities. At the Oscars, I saw Cate Blanchett wearing Givenchy Haute Couture. She was the most graceful.
R.T.: Thanks a lot. I will tell you that when I started working at Givenchy, there was some kind of confusion. Before me, the post of creative director was held by such geniuses as John Galliano and Alexander McQueen. They have contributed to the history of the brand. But when I replaced Julian MacDonald, I could no longer define Givenchy's true style. Everyone associates this brand only with Audrey Hepburn, but there is a whole world on the other side of this perception. I closed all the doors and didn't want to let anyone inside. Only then could I find myself. So in the beginning, I didn't want to dress celebrities. I started to do it later: I dressed one, two ... We dress some stars because they are part of the family. These are the women I admire. And I don't care how famous they are.
D.V.: Now I have to ask this: do you have any new ideas for Givenchy or for your brand? I hope you understand what I mean.
R.T.: I understand what you mean. This question is related to the fashion house Dior. I am truly sorry about what happened to John. And I want to stay out of all this gossip about me and the Dior fashion house. I will say one thing: I am happy to work at Givenchy. Here I feel at home. Givenchy is like my son. It's hard to explain, but it would be very difficult for me to leave.
D.V.: Givenchy is really your baby.
R.T.: Absolutely. I started working with the almost destroyed House, I started from scratch. I did everything very slowly. And we have really achieved a lot. I am happy here. At the moment it is Givenchy by Riccardo Tisci. And hopefully it will continue for a long time.
D.V.:We'll see if this is true!
R.T.: For now, this is the truth. But my truth is this: you never know what will happen tomorrow.
The news of the new appointment at Burberry shocked the fashion community and excited all his sympathizers. Such a move was not expected from the management of the brand. Riccardo Tisci, former creative director of Givenchy, a lover of decadent luxury, eccentric retro-futurism and dark sensuality, and Burberry, a brand that is used to be associated with minimalist classics or, more recently, with democratic and relaxed athleisure. What can this "hot" Italian bring to a brand with a "cold" and "functional" British aesthetic? If you think about it, not so much. It is worth digging a little deeper, as it becomes clear: the appointment of Ricardo Tisci to this position is quite natural.
Englishman Christopher Bailey, who announced his departure from Burberry in October 2017, has been in office for 16 years. He is considered (and this is absolutely right!) the person who breathed into the brand new life. Under him, the revenue beat all conceivable and unthinkable forecasts, and the brand, which back in the 90s had an image of a conservative and focused mainly on middle-aged and older people, noticeably rejuvenated. First of all, thanks to the course towards digitalization - Bailey, a talented visionary, was one of the first to take it, a few years before the era of the social media craze. In particular, back in the 2000s, Bailey launched The Art Of Trench project, a site about the history of the legendary trench coat, where anyone could upload their photo in the iconic Burberry raincoat. This was in 2009 and there was a whole year before the advent of Instagram.
Among other "digital" achievements of the Briton are online broadcasts of shows, during which anyone could buy the thing they liked; cooperation with Snapchat, Google and Apple Music and a serious "modernization" of branded boutiques - for example, there are now screens that display all the information about the things presented in the store.
In addition, Bailey rejuvenated Burberry advertising campaigns. In his era, millennial idols and then Generation Z began shooting for the fashion house and its beauty division: Rosie Huntington-Whiteley, Cara Delevingne, Adwoa Aboah, Jude Law's daughter Iris and Pierce Brosnan's son Dylan.
Gradually, although not immediately, Burberry clothes also began to “modernize”. If, for example, in the SS2014 season, Bailey focuses on conventional femininity, graphic cut and minimalistic, though not boring, classics, then already in the SS2017 collection, a movement towards fashionable asexual androgyny is noticeable, the creative director’s craving for an asymmetric cut in the spirit of deconstructivism.
Further more. In the summer of 2017, the brand launched a collaboration with Gosha Rubchinsky, a designer whose name in the name of a brand or collection today adds a hundred points to relevance. Sportswear with the legendary Burberry plaid appeared at Rubchinsky twice - in the SS18 and FW18-19 seasons. Thus, Bailey not only once again proved his ability to “keep his nose to the wind”, but also ironically beat one of the stereotypes associated with Burberry: in his native Britain, things from this brand are often associated with the style of “chavs”, rude guys from the outskirts, the nearest relatives of our "gopniks". Around the 80s, these "brave" guys were actively wearing baseball caps and t-shirts in the same check - often fake, but who cares? By allowing Gaucher, the gop style's main apologist, to combine these things with his aesthetic, Bailey returned them to fashionable "legitimacy".
The designer himself, around the same time, also began to gravitate toward the trendy athleisure style. No more tight skirts and "office" knitted dresses. Their place was taken by windbreakers, wide sports trousers, oversized coats (but, of course, plaid!) and stretched, “aged” cardigans.
Bailey dedicated his latest collection for Burberry (SS18) to LGBT youth and his own youth, which fell on the 80s and 90s - decades that, by no coincidence, modern designers are quoting more and more often. Models walked the runway in puffy vests, long sleeves and rainbow-print ponchos. In addition, the collection contains things in acid shades, as if painted with graffiti, and “wild” looks, made up, for example, of oversized sweaters and tiered long skirts.
In a word, Bailey managed to make the brand entrusted to him in a good way crazy, reckless and, as a result, really fashionable, and not just by the fact of belonging to the fashion industry. The appointment of Ricardo Tisci in light of this is a quite reasonable step, perfectly fitting into the strategy to rejuvenate yesterday's "brand for respectable pensioners."
Italian Tishi has been in the fashion industry for almost 30 years. In the 90s and the first half of the 2000s, he collaborated with Missoni, Antonio Berardi, Puma, and also worked on his own brand of the same name. But only after coming to the post of creative director of Givenchy in 2005, the young designer became truly famous. According to rumors (which are most likely true) at an interview with the bosses of the fashion house, he was the only candidate who did not mention the name of Audrey Hepburn, with whom, first of all, the style of classic Givenchy is associated. And that is why the leadership opted for a candidate unknown to anyone in those years. Parisian fashion house desperately needed a man who could make his clothes desirable for the younger generation - just like the old British brand Burberry needed in 2001.
Quiet lived up to expectations. He, like Bailey, managed to completely modernize the brand under his control. Some even think it's too much. So, Hubert de Givenchy himself said in an interview with the online publication Women's Wear Daily that Ricardo's works for Givenchy "do not feel the spirit of the house." The Italian retorted, answering that he, like the legendary founder, has “his own Audreys” - model Mariacarla Boscono, artist and performanceist Marina Abramovic, transgender model Lea T. and rock diva Courtney Love. This is not the whole list of Tisha's muses. Ciara, Rihanna, Beyoncé and Kim Kardashian became Givenchy's friends during his time at the helm. The latter even married Kanye West (another great friend of the brand) in a Givenchy dress by Ricardo Tisci.
“Kim for me is the personification modern woman says the designer. She is the epitome of today's society. If someone doesn't like it, that's their problem."
But, of course, it's not just about the ability to gather a pool of "your" people around you. Givenchy clothes also became different with the advent of Tisha. For 12 years of work in the fashion house, he managed to establish himself as a lover of solemn, but not gloomy "Gothic", baroque redundant finishes, black color and architectural cut.
The Italian loves experiments bordering on outrageous. He released masked and pierced models on the catwalk, created fantastic avant-garde headdresses and costumes that looked like Martian vestments.
It is unlikely that the modest Audrey would have dared to try on any of this, but the new generation of fashionistas undoubtedly liked this aesthetic. The brand's revenue increased exponentially, and the FW15 collection was almost completely sold out in the first few days after the start of sales. The brand was also loved by top stars like Madonna and Julia Roberts. In 2012, Tisci canceled couture shows, saying they were out of date and inappropriate, and that he prefers to show haute couture on the stars who wear them on the red carpet. True, in 2016 the couture line resumed: Tisci combined the show with the men's show and released a lookbook. And then he invited industry professionals and clients to the atelier so that they could see with their own eyes how made-to-measure outfits are created.
Hubert James Marcel Taffin de Givenchy
French fashion designer, founder of Givenchy fashion house; great-grandson of the French painter Pierre-Adolf Badin. His understanding of fashion was embodied by two famous clients - Audrey Hepburn and Jacqueline Kennedy.
Date and place of death - March 10, 2018 (age 91), at his estate, Jonchet, near Paris.
Givenchy was born on February 21, 1927 in Beauvais, France. The father of the future fashion designer was a pilot from that generation of romantics - the first conquerors of heaven, to which Saint-Exupery belonged. Givenchy came from a very wealthy family, which had many traditions, and one of them was a passion for beautiful clothes.
Lucien Tuffin de Givenchy died when his son Hubert was two years old.
After his father's death, Hubert was raised by his mother and grandmother Marguerite Baden. Grandmother was the widow of an artist who was the owner and director of the historic manufactories and tapestry factories in Beauvais.
The boy took after his father. He did not become a pilot solely out of compassion for his mother, for whom the death of her beloved husband turned out to be a tragedy of her whole life. But Hubert's dreams of beautiful transcendental distances were reflected in his work.
He developed a passion for fashion very early on. At the age of 10, he visited the world exhibition in Paris and returned full of amazement from the Pavilion of Elegance, where 30 models of the most famous French fashion houses were presented. Then he decided to become a fashion designer.
When Hubert was ten years old, he went to the fair with his mother. He did not want to leave the pavilion with fashionable dresses on display.
At the age of 17, the boy fled to Paris. Here he began to study at the School of Fine Arts. His first works were made for Jacques Fatou in 1945. In this year, he also became an apprentice to the most famous fashion designer of those times, Belenciaga, the fashion designer of fashion designers as he was called.
After the liberation of France from Nazi occupation, he moved to Paris, where he worked as an assistant and studied with fashion giants such as Jacques Fat, Robert Piqué and Lucien Lelong.
From 1947 to 1951, Hubert de Givenchy worked as an assistant to the extravagant Elsa Schiaparelli. She liked his work, and soon the young Givenchy was already in charge of one of Elsa's boutiques.
But this was not enough for Hubert. He decided to open his own fashion house. To do this, he borrowed money from relatives, who eventually believed in the future of young talent. On February 2, 1952, Hubert de Givenchy's dream came true - he opened his own fashion house. He was only 25 years old. Thus, he turned out to be the youngest of the creators of high fashion.
Despite the success of the first collection, things were going well. In 1953 the first collection was published. The fashion house by that time had already moved to George V Street, where it is now. Due to the fact that the designer did not have enough funds, he created a collection of cotton. Only fifteen people came to the show.
Model Bettina Graziani, wearing an unusual white blouse with wide sleeves, which adorned with black and white flounces, became immediately famous. Every woman wanted to have the Bettina blouse in her wardrobe. All that the debutant achieved was a subtle combination of charm and lightness. The fashion designer made the next show in 1954.
1953 was a turning point in his career. First, he meets the Spaniard Cristobal Balenciaga, with whom he later developed close friendships and working relationships. He chose him as his teacher.
The fashion designer made the next show in 1954.
Hubert de Givenchy supported Balenciaga when he decided in 1957 to keep the press out of his shows. So that journalists could not influence the opinions of buyers, they were allowed to see for the first time new collection only eight weeks later. Naturally, the press declared a boycott. But since Balenciaga was considered the leading couturier after Dior's early death, his opinion could not be ignored.
Zh Ivanchy and Audrey Hepburn
Then a historic event happened - Audrey Hepburn, then unknown to anyone, entered his workshop ...
On the morning of 1953, the secretary informed the 26-year-old couturier that Miss Hepburn was waiting for him. He expected to be visited by Oscar-winning Katharine Hepburn, so he was very surprised when he saw a thin and rather ridiculously dressed young embarrassed girl. The girl introduced herself and said that she was offered a role in the movie "Sabrina", and she wants to dress with true Parisian chic. Not paying much attention to the young client, the designer invited her to choose some dress from his collection herself.
She had impeccable taste, and the dress in the picture was a success, but Givenchy's name was not even mentioned in the credits. After the film's release, Audrey flew in to apologize. The designer consoled her, saying that after Sabrina, a wave of customers hit him.
Givenchy remained a personal fashion designer and friend of Hepburn until her death, at the same time creating fashion, dictating new trends to the market, opening up new ways, dressing other famous clients, the most famous of which remained Jacqueline Kennedy. For 42 years, almost all the time that he was the head of the Fashion House he founded, he was inspired by one muse, who was neither a wife nor a girlfriend, but precisely the Lady of the Heart in the medieval sense. For many years, Audrey Hepburn was the "face" of Givenchy House. Couturier always called her the embodiment of his ideas about what the woman for whom he creates models should be.
On February 4, 1955, the fashion designer was awarded his first Oscar for costumes for the film Sabrina. And Audrey has since become his close friend and henceforth dressed only with him - both in life and in the movies. For her, the designer created his first perfume. They saw the light in 1957.
D uhi "Prohibition" from ZIVENCHY
L'Interdit
In 1957, Audrey asked to develop a new perfume for her personally. Hubert invited the famous perfumer Francis Sabron. He created an exquisite aroma, which combined citrus, floral, fruity and berry notes. For three years only Hepburn used them.
Only then did they go on sale. With these perfumes, the designer's activities in the perfumery field have just begun. Later new fragrances will appear: Le De, Monsieur de Givenchy, Amarige, Xeryus, Ysatis, Organza.
The success of this fragrance became the basis for organizing not only the modeling business, but also the company Parfums Givenchy.
At the beginning of the 60s, Givenchy left the perfume arena for ten years, only to release the Givenchy III fragrance in 1970 after a long break. This name is not accidental - after all, this is the third women's fragrance of the Fashion House. The design of the bottle was developed by the famous Pierre Dinand. This is a bright fragrance for a woman who has good taste and impeccable elegance.
Givenchy was the first to create "fashion for the streets" and the so-called "ready-made dress" - pret-a-porte, which went straight to the stores. As a result, the end of the 50s and all of the 60s became the "Givenchy era".
The works of Hubert de Givenchy combine elegance and classicism with boldness and modernism. In 1973, Givenchy enters the world menswear. And in 1974, the third men's fragrance Givenchy Gentleman appeared - in honor of the men's clothing collection of the same name. It was created by perfumer Paul Leger. This is a thoroughbred perfume for a noble man, endowed with the chic and charm of a real dandy.
All his life, Givenchy remained an aristocrat: no one knows anything about his novels and personal life, but his work has always become famous and even famous. In 1995, the great couturier, who at that time had already sold his fashion house, left his job.
He ceases to be engaged in fashion, creating sketches for stamps, is engaged in landscape design, and his offspring begins to feverish. First, John Galliano will work as creative director for a year, then McQueen, Julian McDonald.
Givenchy
French fashion house created in 1952 by Hubert de Givenchy. It specializes in the production of clothing, footwear, accessories and perfumes.
In 1953, Hubert de Givenchy began collaborating with film actress Audrey Hepburn, then just beginning her career in Hollywood. Together they created a style that combined sophisticated elegance with natural beauty.
In 1987, the Givenchy fashion house was bought out by the French concern LVMH, which also owns such Parisian fashion houses as Christian Dior, Louis Vuitton, Christian Lacroix and C?line.
In 1995, Hubert de Givenchy was forced to leave his fashion house. By decision of LVMH owner Bernard Arnault, John Galliano was invited to take his place, immediately attracting attention with his artsy and at the same time provocative collections, demonstrated with a theatrical effect unexpected for that time. In the wake of this success, Arno entrusted Galliano with the artistic direction of another, even more important fashion house for him - Christian Dior, where he remained for almost 15 years, until the beginning of 2011.
Beginning fashion designer Alexander McQueen was invited to create collections under the Givenchy brand - he headed the atelier from October 1996 to early 2001. His first collection was considered a failure, several subsequent ones were also subjected to serious criticism.
His most famous work of that period was the show in 1998 of the Spring-Summer 1999 collection, during which fashion model Shalom Harlow, standing on a rotating disk of the floor, demonstrated a white multi-layered dress, which was then “painted” in front of the public by two spray robots. in black and yellow.
McQueen's last show for the Givenchy house was also provocative: the audience was forced to look at their own reflection in the mirror wall, when an hour later the lights went out in the hall, the wall turned out to be a huge “aquarium” illuminated from the inside, which was filled with fashion models looking at the audience through the glass; in the center, on a sofa of horns, was the fully naked writer Michelle Ollie, her face covered by a mask depicting an alien resembling Master Yoda from Star Wars.
In 2005, the artistic direction of the women's clothing line was transferred to another young fashion designer - Italian Ricardo Tisci.
In May 2008, he also became responsible for the release of men's collections.
In 2009, Riccardo Tisci began to develop the first inexpensive line of the Fashion House - "Givenchy Redux".
In 2011, under the direction of Riccardo Tisci, the new Givenchy fragrance "Dahlia Noir" was presented.
Hubert de Givenchy - the life story of the legendary fashion designer updated: March 12, 2018 by: website
Hubert de Givenchy spoke more than once about current trends, calling them “fashion for ugliness”, and sadly watched how, against the background of his name, from season to season, real tear-offs flaunt, impudent and far from the muse of the famous couturier -. He had his own idea of what high fashion should be.
Givenchy's first collection was made of cotton
The "Bettina" blouse from Givenchy's first collection is named after the fashion model and face of the company, Bettina Gradiani.
To open his own fashion house, 25-year-old Hubert borrowed money from relatives.
His first collection (1953) was made of cotton and interested only two dozen spectators.
The second collection came out the following year, and in 1955 the couturier received his first Oscar for costumes for the film Sabrina. By the way, the brand was not even mentioned in the credits.
Two years later, Givenchy made his debut as a perfume creator: the first fragrance was designed specifically for Audrey, and she used the perfume alone. Only three years later, the perfume went on open sale.
But the Givenchy era (50-60s) is called so after all because of the ready-made dress that began to arrive in stores and was available to any woman. So high fashion first hit the streets.
Fashion house sold, style declared obsolete
Givenchy believed that fashion should develop gradually, slowly - only then can you truly fall in love with the beauty of the dress. In his opinion, in high fashion we are talking not about comfort or functionality, but about style and grace. The details and cut should be the highlight of any ensemble - and nothing funky or grungy.
Bernard Arnault, photo: Masatoshi Okauchi/REX/Shutterstock
That is why he did not see eye to eye with the new leadership of the fashion house, when in 1988 he sold the brand, which he owned for 36 years, to the Louis Vuitton Moet Hennessy concern. Givenchy became the owner of Bernard Arnault - one of the largest French businessmen. In pursuit of popularity, he acted decisively and too radically, the outdated style of the brand, in his opinion, needed a good shake-up.
John Galliano in 1995, photo: Times Newspapers/REX/Shutterstock
Bernard Arnault put John Galliano and Alexander McQueen one after the other on the podium. It was these decisions that marked the beginning of the era of the designer as a rock star and led to the collapse of the restrained culture of post-war high fashion. Elegance was replaced by a new cycle of identity-brand wars, which played out in full brilliance on the international publicity stage and made a spectacular advertisement for the label.
Alexander McQueen showing Givenchy in 1997, photo: Steve Wood/REX/Shutterstock
Alexander McQueen has been constantly criticized for the results of his work as creative director of the fashion house. His first collection in this position was considered a failure. Subsequent works also caused a lot of dissatisfaction and refusals to perceive his outrageousness.
Julian McDonald at the Givenchy show in 2004, photo: Steve Wood/REX/Shutterstock
The next creative director, Julian McDonald, often went against the ideas of his contemporaries about beauty. At the beginning of the 2000s, the fashion for romance, femininity and lightness reigned on the streets of Paris. His shows caused embarrassment for their overly demonstrative aggressiveness and sexuality. He was called inconsistent and short-sighted.
Hubert de Givenchy predicted the end of high fashion
All this could not please the couturier Hubert Givenchy - he drew inspiration from other images. Looking at the boutiques overflowing with clothes on the streets of Paris, Givenchy was sad that times had changed radically: what they sell now, in his opinion, is meaningless and empty, and more related to advertising than to art.
In a recent interview, Hubert Givenchy lamented the fact that nervousness and aggressiveness took precedence over elegance and femininity. In this regard, the couturier suggested that high fashion is coming to an end - and he would not like to watch this.
Ten years after his departure from the fashion house, Hubert said that for high fashion, the race for consumer surprise is fatal, when three or four times a year the designer is obliged to produce something radically different from the previous collection. This inevitably leads to shocking, which closely borders on vulgarity.
Audrey Hepburn is the epitome of Givenchy style
Audrey Hepburn and Hubert Givenchy
Constant was Audrey Hepburn - a woman who personified elegance in the representation of the master. He himself described his relationship with her as "a kind of marriage." When the legendary couturier retired, he dedicated his book of sketches to Audrey. He stated that all his life he admired her grace and ability to choose and wear outfits. We have made a selection of films in which Audrey Hepburn shone in Givenchy dresses. How many can you guess?
Another famous muse of the fashion house was the first lady of the United States, Jacqueline Kennedy, who was often dressed in dresses of this brand at official receptions. In the nineties, Letizia Casta became the face of the brand in a short top. Then came the 2000s with Justin Timberlake in a hat and leather jacket and the aggressively recruiting Uma Thurman.
Despite the different nature of the created images, all the muses were united by what the maestro valued most of all: they could walk down the street unnoticed and at the same time shine on the best podiums in the world.
Return to the elegance of the first collections
May 4, 2017 at 1:15 pm PDT
Today's faces of the fashion empire once again promote the label's inherent nobility: Simon Baker, Aaron Taylor Johnson, Liv Tyler and Amanda Seyfried...
In 2005, the Italian Riccardo Tisci appeared as creative director, who returned the brand to elegance and positive reviews from critics. He introduced black, leather and velvet into the collections, while returning the original graceful simplicity of the models. He was again inspired by the elegant ideas of Hubert, he even made copies of the couturier's sketches and gave them a new sound.
The designer created images for the stars: Rihanna and Beyoncé, Madonna, Jessica Chastain and Rooney Mara, Kim Kardashian. Tisci wanted his clothes to be worn by people of all ages, genders and races. Riccardo Tisci stepped down in 2017, having managed to take the brand to a new level.
After him, British Claire Wyatt Keller became the director of the brand, who managed to work in Chloé, Calvin Klein, Ralph Lauren, Gucci, Pringle of Scotland. The message of her appointment was accompanied by a quote: "Naturality and simplicity are inherent in real elegance." The Givenchy era is back?
Posted by Givenchy Beauty (@givenchybeauty) Sep 4, 2017 at 8:07 AM PDT
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