Clare Waight Keller brings Givenchy women from Paris to the Big Apple, between 90s atmospheres for power women and in micro tops and sharp skirts of leather, bleached jeans. But that for the evening we rediscover parisienne with floral dresses and crystal gowns.

What the fashion of these years can look for is easy to say, the compatibility with the times we are living: Clare Waight Keller does exactly that since she arrived from Givenchy and with this spring summer 2020 collection she makes things clear.

The society in which we live, and in which fashion is born, is excessively liquid: very often changes the attitudes, opinions and the (few) opinions that it has. In addition, people’s behaviors are not always consistent with what they declare, with their way of living and thinking. Thus, there is a blatant contradiction between thoughts, actions, works and omissions.

More than a trend, this is a cultural attitude that does not necessarily have to be shared but with which fashion has to deal with not colliding and not losing touch with the only reason for its existence: the people who consume it, the they use, that support it. Therefore, the operation Waight Keller thinks of for this summer collection is an operation that includes all these contradictions.

«There is a beauty in the dichotomy: dissonance and harmony dissonance and harmony arise where the patina of time meets the fleeting promise of spring. The flowers of Paris and the raw spirit of New York denim intertwine, producing a harsh urban energy, “writes the note of the collection. And it means that in a single look a pair of «double-faced» trousers (the checked checkered front and the black back) can be worn together with a knotted moiré satin bustier top with a big bow on the breast, a skirt that comes from an open pair of jeans with a denim fabric added between the two legs to create a flared wheel and a silk blouse with a high collar.

Or again, a dress that comes from a sleeveless trench coat, a skirt from a knotted trench coat at the waist, a pair of ripped jeans worn under a candied straight frock coat, a silk suit with a screwed up jacket and Bermuda shorts, a matching sheath leather skirt to a bra in pink satin. While evening dresses in cottons and flower-printed silks evoke past gestures of feminine and romantic flavor in periods not present.

A contradictory attitude that, therefore, well describes the contradictions in which today’s society lives with the discomfort and sharing of all.