The seven eras of Givenchy after Hubert de Givenchy

In 1968, when he closed his atelier, Cristóbal Balenciaga directed his clientele to Count Hubert de Givenchy, whom he considered the natural heir to his style. Twenty years earlier, in 1952, Givenchy had founded his fashion house, marking the beginning of a journey that would define an era. Givenchy managed to carve out a place of honor in the haute couture scene with his aristocratic style, which, free from any sensationalist extravagance, was nonetheless able to infuse his sober elegance with a moderate touch of fantasy, a restrained vein of eccentricity, and a surprise effect inherited from his years working alongside Elsa Schiaparelli. Until his retirement in 1988, when he decided to sell the maison for $45 million to the French group LVMH of Bernard Arnault. Since then, the history of Givenchy has seen a succession of creative directors, each bringing a different vision, through moments of great success and controversy.

John Galliano (1995-1996)

When John Galliano took the reins of Givenchy in 1995, it was not only his first major role but also a unique moment in British fashion history, as he became the first Englishman to lead a French maison. Givenchy was propelled into a new era of theatricality: his debut show for the Spring/Summer 1996 Haute Couture transformed the runway into a stage where history and dreams intertwined. Dresses inspired by Marie Antoinette, with tight corsets and wide skirts, celebrated the opulence of pre-revolutionary France. Galliano also introduced narrative elements that evoked the splendor of the French courts, using exquisite materials such as brocades and velvets. While Cathy Horyn wrote in The New York Times that Galliano had «injected vital energy into a maison that risked becoming a museum piece,» critic Suzy Menkes noted in the International Herald Tribune that «the emphasis on visual exuberance risked overshadowing the quiet refinement built by Givenchy himself.» On October 14, 1996, Galliano became the creative director of Dior. The English designer’s brief tenure at Givenchy represented a moment of innovation for the maison and a glimpse into its future—a moment that would be revisited in 1997 when Galliano and Alexander McQueen shared the British Designer of the Year award.

Alexander McQueen (1996-2001)

Alexander McQueen’s experience at Givenchy represents a complex and polarizing chapter in fashion history. His appointment as creative director in 1996 was a groundbreaking event: a British outsider, known for his grunge and nonconformist aesthetic, leading one of the most prestigious maisons in Paris. The contrast between his working-class background and the elite of French haute couture naturally created a "cultural clash," turning his tenure into an experiment filled with creative tension. His Spring/Summer 1997 collection, Search for the Golden Fleece, was inspired by the Maison’s logo and Greek mythology, particularly the myth of Jason (descendant of the god Hermes) and the Argonauts. With the Autumn/Winter 1998 collection, Eclect Dissect, McQueen combined religious symbolism and images of martyrdom with an innovative aesthetic, turning fashion into performance. His collaboration with Björk for the music video Alarm Call further demonstrated his ability to merge fashion and art. «Couture should be free,» McQueen said in an interview with The Guardian, expressing his frustration with the constraints of the maison. In his prêt-à-porter collections, such as SS99 and FW99, the designer redefined the boundaries between fashion and performance art.

McQueen’s work at Givenchy was both revolutionary and controversial. While he succeeded in introducing an innovative aesthetic language and exploring fashion’s theatrical potential, his collections often unsettled the brand’s loyal clients, who did not identify with his iconoclastic style. Additionally, as Hilton Als pointed out in The New Yorker, McQueen stated that he had no intention of dressing clients like Anne Bass «in bloodstained dresses» affirming that «the reason I do this is because I’m 27, not 57.» In 2001, when his collaboration with Givenchy ended, McQueen had already signed an agreement with the Gucci Group, which acquired 51% of his brand.

Julien MacDonald (2001-2005)

With Julien MacDonald taking over the creative direction of Givenchy, the maison took a path more oriented towards Hollywood glamour, marking a sharp departure from Alexander McQueen’s provocative and conceptual approach. The Fall/Winter 2003 collection embodied this transformation: shimmering evening gowns, seductive silhouettes, and bold details characterized his runway shows. His creations seemed designed specifically to capture the attention of celebrities and the mainstream audience, with iconic figures such as Beyoncé and Madonna as key muses of this new stylistic direction. However, this shift toward opulence and immediate visual appeal did not entirely convince critics. Cathy Horyn of the New York Times observed that MacDonald seemed «more interested in dressing celebrities than in developing a coherent narrative for the maison,» highlighting how the primary goal appeared to be consolidating Givenchy’s image as a glamorous brand rather than renewing its tradition of sartorial excellence and artistic innovation. This approach, often considered superficial, failed to reestablish Givenchy as a benchmark for fashion avant-garde: brilliant under the spotlight but lacking a genuine creative direction.

Riccardo Tisci (2005-2017)

Riccardo Tisci, originally from Taranto and a graduate of Central Saint Martins, revolutionized contemporary fashion by transforming the relationship between streetwear and luxury and bringing Givenchy back to the forefront of the international scene. During his tenure as creative director (2005-2017), he redefined the brand’s aesthetic codes, establishing himself as one of the most influential designers of the past two decades. His personal approach, rooted in his bond with his matriarchal family and his homeland, fused with a complex and original artistic vision, giving rise to a style often described as Urban Gothic Baroque. One of Tisci’s most memorable shows was the Fall/Winter 2010 Haute Couture collection, featuring a blend of gothic elements and intricate details, such as the use of black lace combined with innovative materials. This collection, which included bold silhouettes and baroque details, was instrumental in reviving Givenchy couture as a symbol of avant-garde fashion. The Spring/Summer 2012 collection marked another iconic moment, drawing inspiration from surfing and underwater themes. Here, neoprene and marine prints blended with luxurious details, reaffirming Tisci’s ability to translate unexpected themes into high fashion. Vanessa Friedman, then a critic for the Financial Times, noted that Tisci «redefined the boundary between luxury and utility, uniquely combining elegance and functionality.»

In 2015, the Spring/Summer show held in New York to celebrate the tenth anniversary of his arrival at Givenchy was a tribute to his Italian roots and his gothic style. Set outdoors, with a sunset as the backdrop, it celebrated diversity and spirituality through models of various ethnicities and religions. Tisci’s aesthetic, which blends religious elements, baroque atmospheres, and dark pop references, attracted an unprecedented celebrity following. Madonna, Beyoncé, Rihanna, and Kanye West became natural ambassadors of his style. The Fall/Winter 2011 collection, featuring its iconic panther and floral prints on dark backgrounds, was worn by international stars, solidifying Givenchy’s image as synonymous with luxury streetwear. His collaborations with artists like Marina Abramović further expanded the brand’s cultural influence. Notably, his decision to design the merchandise for the tour Watch the Throne by Kanye West and Jay-Z cemented the fusion of high fashion and music, making Tisci the first creative director of a major maison to explore this dimension. Tisci is known for iconic creations such as the Cuban Fit T-shirts with bold prints and the "T" seam on the back, the Tyson sneakers with star-shaped studs, and the 90s-inspired palazzo pants. He made tartan, neoprene, and gothic details central elements of his design language, influencing emerging designers and major fashion houses. Critic Jessica Michault wrote in Business of Fashion: «Contemporary fashion is divided into a before and after Tisci. He made what was once considered underground cool, bringing streetwear to the pinnacle of luxury.»

Clare Waight Keller (2017-2020)

Clare Waight Keller was the first woman to lead the maison, best remembered for designing the iconic wedding dress of Meghan Markle, which solidified her reputation as an elegant and sophisticated designer. The Spring/Summer 2018 Haute Couture collection was inspired by clean lines and luxurious materials, evoking the timeless elegance of Hubert de Givenchy with a modernity that celebrated tradition without disrupting it. However, her minimalist approach clashed with a market increasingly dominated by streetwear and the demand for a bolder aesthetic, making her ready-to-wear collections less relevant to contemporary audiences. In 2020, her tenure came to an end, making way for Matthew M. Williams.

Matthew M. Williams (2020-2023)

Matthew M. Williams joined Givenchy in 2020 with the goal of modernizing the brand while maintaining a deep connection to its historical roots. His career saw a rapid rise due to his ability to merge high-tech design and luxury. Originally from Chicago, Williams, founder of 1017 Alyx 9SM, began his fashion journey working with some of the most influential and innovative names in the contemporary scene, such as Kanye West, Travis Scott, and Lady Gaga. This experience allowed him to develop a sensitivity for the intersection of streetwear and high fashion, creating a vision where the boundaries between the two worlds were blurred. His creative approach was minimalist yet bold, characterized by the fusion of utilitarian and couture elements, with meticulous attention to detail. Williams emphasized the use of innovative materials, such as neoprene, and created iconic accessories, including the Cut-Out Antigona Bag. One of his most celebrated collections, SS22, took place in a massive oval structure that emitted bright white light, creating a unique atmosphere that reflected Williams' futuristic vision for the maison. This show marked a clear evolution in his style, continuing his experimentation with the fusion of couture and sportswear elements, an idea he had hinted at in previous collections, reminiscent of Tisci’s approach. Although his work for Givenchy was admired for its innovation and boldness, Williams’ journey with the French maison came to an end in late 2023. During his time leading the brand, Williams often stated: «Leading Givenchy’s creative direction has been, as I said when I arrived in 2020, a lifelong dream.»

Sarah Burton (2024-now)

The appointment of Sarah Burton as creative director represents the closing of a symbolic circle with her mentor, Alexander McQueen. With a career that has balanced innovation and respect for tradition, Burton, who served as creative director of McQueen for thirteen years and developed a deep bond with Lee McQueen before his tragic passing, has always demonstrated great reverence for her mentor. Now, having established her own vision, she finally has the opportunity to express it freely, symbolically reconnecting with McQueen and completing that circle. Burton’s debut in this new chapter will take place tomorrow at Paris Fashion Week, where she will have the chance to outline the future of the brand.