“A botanical menagerie of caged birds” was the inspiration for Georgina Chapman and Keren Craig’s feminine Marchesa spring lineup. And while it was frothy with its pale pinks, greens and yellows, there was also a darker, romantic mood weaved throughout.

There were fluffy feathered skirts, 3-D embroideries of flora and fauna, artfully arched modesty-preserving wings. Bird and petal motifs rendered in 3-D embroidery imbued movement and texture to the lineup’s dramatic evening gowns.

With voluminous skirts featuring layers of dip-dyed tulle in an ombré of pastels, the gowns, some decorated with back bows and lace-up detailing, were nothing short of exquisite.

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September 11th. Lower Manhattan. The mesmerizing twilight sky outlining the Freedom Tower. An exquisite delivery of "Ave Maria". The emotion all but overwhelmed.

Few expect a fashion show to be a contemplative experience, yet this is what they got from Riccardo Tisci on the night he brought his Givenchy show to New York City, coinciding with the 14th anniversary of 9/11. With the aid of performance artist Marina Abramovic and a staggering sunset across the Hudson, Tisci approached the show as a moment for reflection. He acknowledged the resonance of September 11th not by drawing inappropriate parallel to fashion, but by noting the importance of fashion as an expression of self and an outlet for emotion.

There was also a serene sense of celebration. Tisci marks his tenth-year milestone at the house of Givenchy and a Givenchy store opens in New York City. 

The show’s major themes were lingerie and tuxedo dressing, often worn in resplendent contrast, and always with lyrical grace. The play of feminine against masculine.

White laces and silks wrapped, tied and floated over fluid black trousers, some looks finished with languid robes and others, mannish tails.

Tisci incorporated sensual couture gowns with intense constructions and surprised with a significant showing of men’s wear.

Tisci subscribes to the value of ritual; the religious references in his work are well-known. He also revisited last season’s facial decoration, now more exaggerated and ritualistic.

A different kind of performance art unfolded during arrivals, a dazzling celebrity showing — Julia Roberts, Christina Ricci, Steven Tyler, Liv Tyler, Nicki Minaj, and of course, Kim and Kanye. Representatives of New York fashion turned out as well: Michael Kors, Tory Burch, the Proenza guys, Alexander Wang, Joseph Altuzarra.

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The show was called 'Shocking', and an invitation, a set, and a first look radiant with bright pink. Armani opened with two Shocking jackets, one, with a peplum, in Lurex-shot chenille over black velvet pants, the other, a lean, elegant crepe over color-blocked pants in velvet and satin. The shocking pink–washed backdrop of the show set the tone but Armani soon unleashed hues that boldly mixed that fearless color with brilliant lapis blue, and emerald and tourmaline greens, often in shimmering metallic effects, or dazzled with Swarovski crystals like the aurora borealis.

“For once I’m not thinking about my clients’ needs,” laughed Giorgio Armani during a preview of his Armani Privé collection. “I wanted to express my creativity! My first inspiration was to bring my drawings to life,” he continued, “to have all the girls look the same—black hair cuts, a similar allure, like a sketch.”

As if to reinforce the illusion of an illustrator’s strong painterly line, Armani defined the collection with felt pen streaks of black velvet—for the narrow line of a pant leg.

As precise and shiny as the clothes were, they had a rawness with their tattered threads and shagginess. Armani explored an infinity of textures with his feathers, knots, and fringing. There were dresses that looked collaged from scraps of fabric.

This was definitely a collection for the dark and decadent night.

As Armani said backstage, “couture has to be a dream.” This season, the designer was dreaming in glorious Technicolor.

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