From the past to the future, Williams mixes the codes of the house by focusing on accessories and jewels. The designer unites the Givenchy man and woman in a symbolic link between utility and luxury.

New Givenchy&nbsp;course suggests a sartorial approach to the legendary French fashion house, while reflecting the modernism associated with Williams&#39; 1017 Alyx 9SM brand and his obsession with avant-garde craftsmanship.

&ldquo;You find the pieces of the puzzle for a collection, building it from symbols and signs, but never forgetting the reality of the person who will wear it and bring it to life. The women and men should be powerful and effortless, equal and joyful, a reflection of who they really are &ndash; only more so. It&rsquo;s about finding the humanity in luxury.&rdquo; - says Matthew M. Williams, the Creative Director of Givenchy.

The Spring-Summer &lsquo;21 collection explores Givenchy in the form of a stream of consciousness for Williams and is a &lsquo;sampler&rsquo; of what is to come. This is a new beginning, yet is intermingled with elements of the archive and is a utilisation of Givenchy&rsquo;s distinct lineage, pointing to the past, present and future. Above all, there is a sense of celebration, of the people who have led Williams here and those he wants to wear the clothes.

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The new padlock designed for Givenchy, called Lover&#39;s Lock is a unisex object, useful and decorative, it expresses a universal message of love that recalls the padlocks left on the Pont des Arts in Paris and that appears throughout the collection. From the draperies of Hubert de Givenchy to the impalpable transparencies, passing through the linear necklines and the openings on the back, such as the halter neck tube with daring depths and complete with an exposed thong - a quote from the film &quot;Le Grand Blond avec un Chaussure Noire&quot; of 1972 with Mireille Darc. And so, for Matthew Williams, having &quot;Breakfast at Tiffany&#39;s&quot; has never been so sexy. The quotes are also added to those extrapolated from the house&#39;s archive, such as the Tryp-toe shoes and stockings, horn heels and hats, which echo those used by Alexander McQueen for the 1997 couture show (McQueen was Creative Director of Givenchy from 1996 to 2001); until a new reinterpretation of the Antigona bag. While Riccardo Tisci&#39;s Pantera print echoes on scarves and shirts. Next to them, the new unisex Cut-out bag stands out in different versions and the G chains: the letter G is carved in a chain to become a handle, and we should say, a new logo. The experimentation linked to technical materials, typical of Williams, is offset by tradition, naturalness and opulence. Cotton Ottoman for men&#39;s and women&#39;s outerwear, technical taffeta for tailoring and Milano stitch jersey are used to obtain clean and clear shapes; tradition is respected, but at the same time redefined and recontextualized. As an example is the experimentation on the classic foam rubber slipper: the Marshmallow Slide (for him and for her) that completes many looks of the collection, helping to give a casual air even to the most formal looks where even the woman wears suits from the jackets oversize. Denim is introduced in the deluxe version, brushed with resins and varnishes, denim with paints and resins, for &quot;vinyl&quot; effects together with skirts and cropped jackets in brown or pumpkin orange crocodile. The evening dresses are almost absent. A casual and rigorous approach, subversive experimental-couture, for Audrey of today.

Matthew Williams debut for Givenchy

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