VIDEO: Givenchy’s New York Show Was A Moving Celebration Of Love

Two of this generation’s most important advances in regards to the runway show - the democratisation of fashion and the catwalk presentation as a grand spectacle - reached a visual and spiritual zenith for Givenchy’s Spring/Summer 2016 show in New York last night.

Replacing the traditional Paris presentation for the city that never sleeps wasn’t a decision made on a whim. Firstly, the house has long enjoyed a relationship with the avenues and streets of this stylish grid: Hubert de Givenchy made waves over here in the middle of the 20th century armed with knockout couture and the ultimate muse of that epoch, Audrey Hepburn. Then there’s Givenchy’s flagship store opening on Madison Avenue – more of that to come soon. This moment also marks ten years of Riccardo Tisci at the helm, but most of all this was an extension of the hugely popular artistic director’s continued efforts to create a global Givenchy family - bound together not only by awe-inspiring fashion but with love, respect and diversity. And therefore, the significance embedded in which day this show was held – and the view of the NYC cityscape from this show venue, in particular the Freedom Tower and the Statue of Liberty – was of great importance. The theme: celebration. The timing: in line with the city's heavy, most memorable tragedy of our life time, 9/11. The arrangement: not merely a fashion collection but a fully formed art installation, courtesy of long-term Givenchy club member, Marina Abramovich.

Set within the open air space of Pier 26 on Hudson Park River, at dusk, the conceptual artist enlisted a troupe of performers to stand atop small towers and platforms constructed entirely out of recycled materials; with a background durge of multi-faith chanting, these living statues stood oh-so-still, whether half way up a ladder or staring into the eyes of another, their actions represented peacefulness, mindfulness, acceptance, forgiveness and – that lovely word again - love. ‘Dear Riccardo, when you asked me to work with you on this show, I felt honored but I also felt a great responsibility,’ read Marina’s words within an artistic booklet upon our seats, one that also featured a visual archive of some of Tisci’s most memorable work of the past decade.

Inclusivity, togetherness… when it comes to these matters Riccardo has long been a ring leader in the industry (putting the first transgender model on a runway or his continued link to the world of hip hop for example) but the gang became even more inclusive tonight as 1200 non industry people were able to win tickets to see the moment in real life. Never before has the public experienced such a high fashion coup - for all of the online streaming and instant click-to-buy tech that has widen the reached of the holy runway, there's nothing that can beat the experience of feeling the mood of the room, the reactions to a certain outfit, model or piece of music. Not to mention being but a mere stiletto away from Givenchy's tight-knit, elite front row: Julia Roberts to Kim Kardashian West, Debbie Harry to Jennifer Hudson, all were in attendance, all looking divine.

Givenchy’s American extravaganza would of course require some clothes – and what garms they were. This was pajama-dressing, Tisci-style. The finest lace trimmed the finest deconstructed camisoles and slips. The slinkiest satin suiting was louche and draped off the body. Gowns were feather light and swept quietly through in all their – often sheer – glory. Black tailoring was key, but never harsh – just a complement to those softer separates. 100 looks walked that runway and each whispered of Riccardo’s design DNA. 100 different models showcased them including Kendall Jenner, Candice Swaneopol and Joan Smalls. The hashtag #grtnyc17 was buzzing throughout the social-sphere for about two hours - and then some thanks to a Givenchy after-show party under Williamsburg Bridge. And if the staunchly Givenchy-clad audience was anything to go by (a dedicated crowd – full leather and gothic tailoring in 27 degrees Celcius), these outfits certainly won’t be art installations come the new season, they’ll be worn out and about with great pride.