Inspiration - Givenchy Editorial Style Analysis 2015

Givenchy carries across all platforms of its work a very distinctive style in regards to image construction, setting and ideology that reinforces the houses presentation of its aesthetic. Commonly there is an obvious connection between the garments and styling presented on the catwalk with that of the released editorial images, with the theme of the show continuing across the two bodies of runway and photographic imagery to create a complete house collection. An example of this can be seen within the symmetry of the 2015 Spring/Summer collection which embodied Tischi's admiration for combining opposites with a marriage of skin tight leather trousers, thigh high boots and floating peasant blouses with corset detailed bodysuits to add an element of 1800's Regency romance. The use of colour within this collection was also classic of the Tischi aesthetic with heavy amounts of monochromatic black and white, simple cuts and a dash of fleshy tones. This collection stands out predominantly due to its step away from the previous urban focused designs that had constructed the editorials of the past couple years. Instead this collection is more sexual playing on a trend of gypsy designs and taking the somewhat overplayed 'boho' concept into a darker element, in turn creating a somewhat pirate like and 1970's biker hybrid. This collection comes back heavily to the original passions behind Tischi's designs of the house of Givenchy as the collection echoes the dark romanticism explored within his first collection back in 2005.

Left: http://forums.thefashionspot.com/f52/
joan-smalls-august-2014-june-2015-a-255529-9.html
Right: http://www.thefashionisto.com/riccardo-
tisci-previews-givenchy-springsummer-2015-campaign/

Looking at these editorial images for this season in particular there is a cross over them being both within the territory of editorial and advertisement. This is a common trait of high end fashion houses and therefore opens up the concept for the advertisements to be more ornate in regards to those marketing the garments/lifestyle. In comparison to beauty ads this layout is very different however that is something to be analysed separately. Within this body of images the connection between editorial and advert is blurred and therefor the images may be interpreted as both. Between the image on the left (runway) and the right (editorial) the connection between the styling is heavily apparent mainly because the garments featured are identical. The purpose of the editorial is to build upon the storyline behind the fashion shows more abstract representation. Riccardo Tischi paired up with directors Mert Alas and Marcus Pigott to create the montage of images that explored the sexuality advocated by the garments risqué design. In addition the use of the motorbike as a prop emphasises the biker chic yet heavily fashion focused concept of the editorial by emphasign the connotation of dangerous and highly sexed independent women. The setting for this shoot in particular was done on location in the same outdoor setting across all of the photographs, this has been done by Givenchy in previous campaigns for example Fall/Winter 2012, Spring/Summer 2014 and Spring/Summer 2012. Despite being shot outside however the colour palette for each image is always altered slighting, often adding sepia tones, desaturating the image of adjusting the contrast to create darker tones. Despite being an editorial each image carries a very subtle degree of surrealism through the manipulation of colour and lighting. 

Givenchy Fall 2015 Editorial Campaign
http://www.fashiongonerogue.com/gallery/
givenchy-fall-2015-collection-editorial-
vogue-japan/

Sepia toning is something that is continued across the theme of the editorials for the whole year of 2015 for Givenchy with the Fall/Winter campaign holding a matching colour palette despite its significantly more ornate garmentry. By adjusting the colour palette of the photographs in this manner Givenchy are able to add a dirtied down, slightly gothic hint to any of their images by removing the softness created by using a cream backdrop. This technique enhances the grungy allure that Tischi is so renowned for a the house of Givenchy. This editorial supplies a second example of the styles of photographic set up used by Givenchy when creating their images. In contrast to the visually enticing works of the outdoor editorials there studio work is equally as striking as it in turn visually contracts the monochromatic focus of the house. Studio editorials are minimal and statuesque creating a intense focus on the complete styling of the model and embodying a concept of sophisticated strength in the posing. This editorial for Fall 2015 is a fine example of this design base as the models stand the full centre length of the image with intense focus on the camera. The theme for this show was heavily ornate with tones of dark Victorian Catholicism therefore the motionless statue like posing of the models connotes that of the decoration seen amongst churches as statues of saints stand unmoving as stone to look down upon those who attend. In addition the image also represents that of early photographs which would have been posed in a similar manner within the era. The concept behind the editorial for Givenchy takes the abstract ideologies put forward within the runway by creative director Riccardo Tischi, and creates a literally interpretation that makes the storyline of the show more apparent to the viewer. In turn both styles of editorial are key to the Givenchy aesthetic and both striking wether it be through their use of the ornate or focus on minimalism. The gothic tones of Tischi's take on Givenchy remain a figurehead in the construction of all their editorial work from 2005 to present.