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Givenchy Resort

Givenchy Resort 2022

The gritty glamour of kids, who’d hang out around train tracks and tag random things in graffiti, is an ideal particular to those who grew up in the 1990s. It’s an archetype Matthew M. Williams, 35, knows well, and one whose seduction has never left him. Those kids were cool, their style seemed effortless even…

The gritty glamour of kids, who’d hang out around train tracks and tag random things in graffiti, is an ideal particular to those who grew up in the 1990s. It’s an archetype Matthew M. Williams, 35, knows well, and one whose seduction has never left him. Those kids were cool, their style seemed effortless even if it wasn’t at all; it looked like they lived on the edge when, probably, they still had to be home for supper. The designer’s spring film for Givenchy triggered that nostalgia. Projecting the badass sensibility of ’90s adolescence onto the luxury stage, Williams portrayed a coarse teen attitude through the refined and hyper-polished Parisian lens of Givenchy.

Shot in a railyard you wouldn’t associate with the City of Light, the film interweaved images of the French capital’s Statue of Liberty replica and the Eiffel Tower, linking together the designer’s American background and Givenchy’s Parisian persuasion. Looking for ways of uniting the two, Williams called upon the Seattle-born, Mexico-based airbrush artist Chito to create illustrations for the collection. They had been executed by hand—and will also be in production, albeit not by the artist himself—observing the savoir-faire practices of the house. Evocative of graffiti art, Chito’s motifs manifested as cartoonish or emoji-like characters with a certain Mexican sensibility about them.

Raised in California, Mexican culture was a natural part of Williams’s childhood. “Chito is Mexican-American, as were most of my friends growing up. It’s something in my upbringing that I really appreciate and admire,” he said during an appointment in Givenchy’s showroom in Paris. Airbrus

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