Givenchy’s presentation was one to remember in lieu of Ricardo Tisci’s impressive ten years with the label as creative director. When questioned about his choice to show in New York as opposed to Paris this season, he simply responds: ‘America was the first country to really believe in me. The big step for Givenchy in the ‘50s was America’. (We remember Tisci making Disney’s Bambi haute couture for A/W13). This time round, Tisci, along with his close friend Marina Abramović, commemorated the sombre anniversary of 9/11, which coincided that day, demonstrating this kind of tenderness for America. His show is aptly named “A Celebration of Love”. Seating and catwalk structures were manipulated from debris whilst a rhythmical gong persisted in the background. Monochromatic staples were the backbone for Givenchy’s show. Wedding-wear was clearly thematic in the opening; and luxury textures were paired with subtle creams and sensual inky blacks. Androgyny was back: the womenswear collection presented the tuxedo reformed in cut-out and long, sweeping sillhoutes. Victorian lace, akin to undergarments, was employed asymmetrically in a robe-like way for some. The groomsman as a woman; wedding night lingerie outward and catwalk convenient. Layers of netting was translucent and sensual. Two falls from Candice Swanepoel and Malaika Firth deterred little, besides. Towards the middle part of Tisci's show, an adornment of fused jewels appeared on outerwear in the most regal manner, as well as the models’ faces – make-up was courtesy of maestro Pat McGrath. This was paired with the most extravagant of eveningwear, with remarkable structure, including the traditional fishtail. Tailoring was strong, a bridge between marital charm and as sense of masculinity. Menswear dared to reveal ankles today in the face of Victorian women, bearing silk tunics and cut off tuxedos. It had the richness of early twentieth century glamour, indubitably, and reminded Tisci’s audience of the charisma of such an era.