Givenchy’s Paris Fashion Week show generated excitement outside with throngs of K-Pop fans, but inside, an atmosphere of subtle solemnity prevailed, with an abundance of black ensembles fit for a formal occasion.

The collection showcased a gathering of fashion-forward luminaries, reminiscent of modern-day Audrey Hepburns. Crisp knit tops paired gracefully with mid-calf skirts, while silk blouses exuded elegance alongside asymmetrical black calf leather skirts. Oversized blazers, elongated silk dusters, and deep gorge jackets in anthracite and inky black hues completed the sophisticated lineup.

Though somber in tone, this collection may well be the pinnacle of Matthew Williams’ work for Givenchy.

After multiple requests from the MC to be seated and navigating past aspiring influencers outside, the show finally commenced. Flowing silk faille coats and semi-sheer cocktail dresses graced the runway, enhanced by a clever styling touch – dark red or deep blue knee-high hosiery paired with high heels.

This creative flair extended to sherbet colors, where tubular mesh dresses in frosty blue or jaundice yellow took center stage. The collection then transitioned to skillfully draped chiffon dresses, with a standout worn by Jessica Stam, featuring a thoughtful mix of veteran models.

Presented beneath an open-sided white tent at the Ecole Militaire, Matthew Williams showcased his deep understanding of Givenchy’s legacy. His tenure at the fashion house has been marked by a learning curve, but his trajectory is undeniably upward. Just a year ago, some in Paris doubted his longevity. It’s now clear that he has enduring appeal.

Givenchy, once revered but seemingly stagnant, has gained momentum and allure thanks to Williams. The sizeable crowd outside the show was a testament to this resurgence, with attendees ranging from Minghao, the Chinese-born star of K-Pop band The8, to Jared Leto, who has transitioned from Gucci to Givenchy post-Alessandro Michele.

Despite occasional irritations like repetitive music and an abundance of black ensembles, it’s clear that Givenchy is in a new era of vitality.

«Are we at a funeral? Or two?» quipped one French editor in the front row. Let’s hope not.

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