Analysis of information sources in references of the Wikipedia article "Hubert de Givenchy" in English language version.
Center of the [debut collection] chaos was De Givenchy's beautiful teammate, Bettina Graziani. Bettina, 26, resigned her position as the top model in Paris to join the new enterprise. Before the opening she beat the publicity drums, pulled in all the important U.S. fashion editors, posed for pictures, set up seats, pressed clothes backstage, modeled them on the runway and came out afterward to sell them.
In the 1960s,...materialism was briefly out of style.
In the 1960s, society had evolved in such a way that the norms imposed by haute couture had become obsolete. A growing number of women wanted to be able to dress themselves elegantly and affordably.
During the nineteen-fifties and into the sixties, he scaled the couture heights a half‐step behind Balenciaga....
After Cristobal Balencaiga, Hubert de Givenchy is considered by many as the second most important fashion designer in Paris today.
Givenchy's day dresses...gave the impression of a full sack of fabric hanging from the shoulders, whittling down toward the hem.
Along with Balenciaga, he introduced the chemise in the summer of 1957.
Givenchy's women looked like geometrical designs, abstract figures...
The Givenchy look of last fall is sweeping Paris this spring....[Crahay's and Cardin's] inspiration is...that young, feminine, easily fitted princess silhouette...that Givenchy invented.
Until 10 years ago [1961], street clothes were very formal. Now that's all changed.
With a generation of office workers and executives going to work in T-shirts and blue jeans, formality in fashion was becoming a thing of the past....[I]t is possible for a woman to go anywhere, including black‐tie dinners, in a shirt and pants....Simplicity is the rule, and there's no need for a woman to clutter her closets with a lot of clothes...It is part of the simplification of life that comes under the heading of modernity. So is the fact that most clothes are soft and unstructured as well as interchangeable.
...[T]he new clothes seem natural, as if they weren't designed at all, but just happened.
...[F]ar more important was the character of the clothes, always casual, always relaxed and, more often than not, looking untouched by a designer's hand....[G]uests on luxury yachts cavorted in them rather than the couture clothes to which they were accustomed.
Starting with the swinging young in London in the early nineteen‐sixties, the miniskirt spread to Paris and then to [the United States] where season after season matrons and manufacturers gleefully subtracted an inch or two from hemlines.
Pants and jeans took over the scene...[T]hey suited the quiet, realistic mood of the time...Pants also carried with them the important impression of ease, of not trying too hard, and of freedom — crucial preoccupations of the early 70's...
...[J]eans have invaded ballet, theater and gallery openings with such assertion that everyone else feels overdressed.
Fashion designers [and s]torekeepers...fondly recall the time when women traveled with steamer trunks filled with clothes instead of with backpacks, when ladies wore white gloves and hats, and blue jeans were for farmers and laborers.
...[Yves Saint Laurent] mused on the changes in fashion since he went to work for Christian Dior...'That was the time when everybody wanted to look very rich,' he said. 'Now [1968] I think it is the contrary....'
It was a decade in which the...rich stole their fads from hippies who rejected materialism.
...[I]t has become smart to be shabby, to make do with what you have. It is no longer smart to be affluent, or rather, to be seen to be affluent....Shabby has long been chic in dress...Shabby Chic is part of the denim/patchwork vogue....[T]he smartest people were...in their denims with ragged edges and carefully sewn on patches...They wore their jeans until they were on their last legs, and their T‐shirts until the slogans had virtually faded into oblivion....
Take the anti‐establishment 60's...: the untamed manes of the flower children, the faded jeans of the affluence‐rejecting hippies, the discarded bras of the women's liberation movement, the knee‐freeing skirts..., and the street‐imitating gear of the radical chic...share...an antifashion attitude that became...powerful and pervasive...
Among certain fashionable young people in Paris, the couture is outmoded and ready-to‐wear...is the rage.
Why has the couture lost its touch? Because it is a geriatric institution, having been invented around the turn of the century by men such as Worth and Poiret and is now in its 75th year. Because its customers are a similar age. Because It is losing its nerve. Because it is terrified by competition from the ready‐to‐wear...
Hubert de Givenchy's collection...was considered too long, too dull and too heavy. It was described as a collection in which 'old ideas kept coming back without looking as pretty as they once did'.
What's new at Givenchy? That is the question that people ask, and the honest answer is that nothing is new.
...[R]ecently, he has been considered the designer to the geriatric crowd.
Hubert de Givenchy has his fashion followers...They tend...to be 'women of a certain age'...
For the last few seasons, some of the Givenchy critics have carped that inside his strict, carved shapes was a middle‐aged matron who would never get out.
After a plethora of boots and heavy, textured stockings in most of the Paris fashion houses,...there was not a boot or textured stocking to be seen at Givenchy.
Hubert de Givenchy's collection...may change the current fashion direction away from loose fitting clothes back to fitted ones....The new Givenchy fit is a princess line with a strongly indented waist...
...[S]hort...to Givenchy [is] just above the knee...
...[S]kirts are now longer and his always have been.
...Givenchy's micromini dresses...show a lot of leg, though they are concealed by such things as a purple leather coat to the floor.
Givenchy shows hot pants.
Givenchy tucks shorts under his skinny daytime suits and dresses and sometimes sends the shorts out alone unabashed.
One of his daring ventures was to have Sache, an esteemed French fabric designer, adapt the very abstract paintings of Rothko to thin evening silks.
Givenchy's yokes...gave blouses, jackets and coats a smock‐like shape that was equally good belted or left loose....He shows coats with cape backs...
Hubert de Givenchy loosened up a bit, turning out a peasant style or two.
Designers such as Yves Saint Laurent and Hubert de Givenchy simply picked dramatic traditional shapes, made them in the most opulent fabrics and embellished them with furs, feathers and jewels.
In Paris, the body‐conscious trend took a civilized turn with Givenchy's elegantly tapered suits...The brisk, capable look of the wide-shouldered silhouette suited the mood of women who wanted to convey just that image: in control and 'together'.
The overflow audience...cheered almost from the first style...The designer was pleased by the enthusiastic reception to his work...'I have had a second "jeunesse" '...It is not that he has changed his style so much, but that fashion has come around again to his basic concepts, he explained....'Suddenly, women want to look neat again, pure. That is my style.... The circle has returned in my direction,' Givenchy said. 'I am very grateful'.
Yves Saint Laurent and Hubert de Givenchy produced the best collections.
Givenchy's [clothes] are always the essence of luxury, even though nowadays they often contain some outfits strikingly similar to those Saint Laurent showed a season before.
Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette...
...[T]he prevailing shape is the chemise....[T]he shoulders of the chemise are padded...
Givenchy proposed a tapering chemise.
...Hubert de Givenchy...returned to the...chemise shapes promulgated by Balenciaga in 1957....Current versions have wider shoulders and shorter skirts than those of Balenciaga, but still offer a reprise on an earlier style.
Givenchy added innumerable versions of the chemise dress, a category of fashion he has made his own...
Beaded evening dresses are available at houses like Givenchy, which specializes in them, for around $10,000.
...[B]all gowns took over the evening scene...
Though he broke no new ground and certainly showed no wild clothes, his collection had a good sense of freshness and a youthful vigor.
There is no attempt to mimic street fashions, which the couture tried during the miniskirt years. There isn't too much concern with practicality. If the bouffant skirts with their layers of petticoats can't fit into a compact car, it is understood that their wearers travel by limousine. If the jeweled dresses require a lady's maid and a bodyguard, it is assumed that they are available....Givenchy calls his dresses Proustian...
The Reagan influence wafted through the major cities like heavy perfume. Where the young had once been the apple of the fashion eye, the elders took over, wearing expensive suits and ball gowns. And youth followed the example. In its way, nothing said more about fashion than all those 15-year-olds in wing collars and black ties swimming like well-bred minnows in the wake of stately taffeta.
Only one dress was greeted with dead silence: a printed satin, shirred up the center, that bared the knees. It was the length that was distracting. The audience didn't know what to make of it.
Aided by slender, draped shapes, knee-baring hemlines and necklines that plunged to the waist, he produced a zesty collection demonstrating that luxury need not be stodgy.
The differences between the short clothes of the 1960's and the styles offered today are considerable....Today,...styles...have a more formal air. Suits and jackets, almost ignored in the 1960's, are in the forefront of fashion now. Clothes are more shapely, with waistlines generally marked and hiplines often rounded.
...[T]he hourglass shape at Christian Dior and Givenchy, with broad-shouldered jackets with set-in sleeves with fullness at the top, and tiny waists...
...[Givenchy's] short black puckered velvet cocktail dresses electrified with oversize shocking pink bows...
There were nifty Kitty Foyle-like dresses [a 1940s-style short-sleeve dress] at Givenchy...
There were the Audrey Hepburn reprises everyone hoped for from Givenchy...
Bill Blass insists that in spite of the state of the economy, his customers want rich, opulent clothes. So he has made his things a little richer, a little more opulent.
The hemline hike is such an established fact of life in the couture this season [1987] that only two major designers -- Pierre Cardin and Yves Saint Laurent -- bothered to show any daytime skirts below the knees.
Both Valentino and de la Renta showed collections in the formal rich society-lady style.
...[H]istorical...revivals...celebrated Proustian opulence for the new rich of the Eighties.
