![]() That’s what makes Martens’s version of Gaultier couture fly: the acknowledgement that it can’t be a retread of the past glories of one of fashion’s greatest designers, but instead honor what went before and incorporate the best of yourself. I’m reinventing those iconic moments in my own way.” This marinière…it’s so him, but I completely fucked it up with all the fake coral spikes. I’m building on that through what I think of his iconic Gaultier moments. I’ve stayed close to the woman Jean Paul created in the past-pure diva goddess beauty, hips, whatever, all that drama he loved. “I am only doing this for one season, so it’s not like I have to envision a whole new future for the house that’s a very different exercise,” Martens said. (The designer, as you likely know, is also currently kicking it out of the park at Diesel.) The sailor stripes are pure Gaultier, yet the twists to this dress-the folded-over shoulder line, the knit panel which sinuously and unexpectedly juts out from the left hip-are pure Martens at Y/Project. ![]() One of the looks he was furiously working on, viewed courtesy of a 360-degree spin around via his iPhone, is a Breton marinière which has been turned into a dress and then hand-embroidered to ripple 3D-style with hundreds of faux coral fronds. “So, we are a bit stressed, but not for the first time.” “Apparently, with couture, you finish it the minute before it goes on the runway,” Martens said, with a laugh. And make no mistake, the pressure is indeed on. Instead, the industry seems to be adopting new models of creative leadership, from Moncler’s ongoing Genius collaborations to Prada’s newly announced co-creative directorship of Miuccia Prada and Raf Simons.On a FaceTime call the day before Y/Project’s Glenn Martens unveils his vision of Gaultier haute couture-the second designer to do so, after Chitose Abe of Sacai last season-Martens was doing what he does so well: Exuding grace (and humor) under pressure. Givenchy’s changing of the guard comes at a time when fashion’s revolving doors seem to have leveled out, following the chaotic creative director switcheroos of 2016, 2017, and 2018. The brand promises an announcement “at a later date” about its new creative strategy, however the fashion rumor mill is already in overdrive not just about her replacement, but also where she might go next. What’s next for one of Paris’s most storied maisons and for Waight Keller remains unknown. ![]() ![]() I wish Clare all the best in her future endeavors.” Under her creative leadership, and in great collaboration with its ateliers and teams, the maison reconnected with the founding values of Hubert de Givenchy and his innate sense of elegance. Sidney Toledano, the chairman and CEO of LVMH’s fashion group, wrote in a release: “I want to warmly thank Clare Waight Keller for her contribution to Givenchy’s latest chapter. In total, she designed 10 collections per year for Givenchy, bringing an ’80s-tinged glamour to her womenswear a svelte, sometimes retro beauty to menswear and an experimental exuberance to the house’s couture shows. She arrived after a successful stint at Chloé, taking on menswear and haute couture for the first time while continuing to design womenswear and accessories. Waight Keller was hired at Givenchy in 2017. I have shared so many incredible moments with the brilliant Givenchy ateliers and design teams: your exceptional talent and dedication will forever remain in my memories.” Focusing on a world based on Haute Couture has been one of the highlights of my professional journey. As the first woman to be the Artistic Director of this legendary Maison, I feel honored to have been given the opportunity to cherish its legacy and bring it new life. In a heartfelt note posted to her Instagram, Waight Keller wrote, “After three truly wonderful years, the time has come to close my chapter at Givenchy. After three years, Clare Waight Keller is departing Givenchy.
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