"There were headpieces at Sarah Burton's third show for Givenchy that had a solemn, chaste grandeur - they were part Benedictine abbess, part 1960s Richard Avedon couture portrait, a couple of parts old Dutch master. Double dutch, double duchess - in actual fact, they were all T-shirt, said the milliner Stephen Jones backstage, confessing to their humble origins (although they were in that cloyingly heavy, clotted cream-like satin)."
"You can take Burton out of London and plonk her in one of the hautest, snobbiest French haute couture houses, but there's still the grit of the penniless invention of the 1990s London fashion scene informing her decisions."
"The spirit of Hubert de Givenchy did stalk Burton's Autumn/Winter 2026 show, which was unequivocally her best since she started at his house. And the best bits were those Givenchy bits, both the gestures to his work - those headdresses, the fluted peplums of taut little jackets, the bubbling volume and dipping back of a crisp white blouse."
Sarah Burton's third collection for Givenchy demonstrates her strongest work yet, infused with the spirit of founder Hubert de Givenchy. The show features distinctive headpieces created by milliner Stephen Jones, blending Benedictine abbess aesthetics with 1960s couture sensibilities, crafted from humble T-shirt material transformed into heavy satin. Burton brings her characteristic London fashion ingenuity to the prestigious French house, known for its aristocratic heritage. The collection references Givenchy's iconic design elements including fluted peplums, voluminous silhouettes, and crisp white blouses. Despite Givenchy's elite background as French nobility, Burton's approach infuses accessible creativity into the haute couture tradition, creating a compelling dialogue between heritage and contemporary innovation.
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