"If you want a house all your own, you need to build. That's what Sarah Burton is doing at Givenchy, namely building on the foundation she established last season, of forceful tailoring, of mid-century shaped couture gowns cut to new proportions, of dresses crafted straight from the room known in French as manutention, where the bolts of fabric are stored. Her Givenchy is about making, a couture house as a place of work."
"For Spring/Summer 2026, after laying down her philosophy, Burton started to strip away. "It started with peeling back the structure of tailoring to reveal skin," she said. She began that process last season, twisting jackets around back to front and - in retrospect, somewhat demurely - nicking them at the décolletage. This time, they were entirely wrenched open, dissected, peeled back from the shoulders and crushed around the arms, fabric framing."
"A few designers of late - those ensconced in historic Parisian houses, many being revived for the umpteenth time - have talked about how our perceptions of the golden age of couture are coloured by fashion photography. Or rather, how their colours are desaturated, stripped to black and white, pure line and form. At Givenchy, however, that was the graphic reality -"
Sarah Burton at Givenchy builds on a foundation of forceful tailoring, mid-century-shaped couture gowns and dresses made from manutention-stocked bolts of fabric. The house emphasizes making and functions as a couture workplace. For Spring/Summer 2026 Burton stripped back tailoring to expose skin, twisting and reconfiguring jackets, opening and crushing them around the arms to create fabric frames. The aesthetic foregrounds powerful femininity through sculpted hips, rounded sleeves, swathed fabric emphasizing hips and breasts, and cut-out brassière tops with latent sexuality. The collection balances graphic black-and-white simplicity with visible white linings inside sculpted black dresses.
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