FETCH
COLLECTIVE

They say you can always tell if a designer loves or hates women. Sarah Burton loves women. After her debut collection as the creative director at Givenchy – only the second woman to hold the position – this love is clear. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Givenchy spent three seasons without a creative director before selecting Burton to succeed Matthew Williams, who left in 2023. The fashion house needed to find someone who could bring a strong sense of identity back to them after criticism that previous designers weren’t giving a true sense of the “Givenchy woman.” Burton – the former assistant and longtime colleague of Alexander McQueen – spent almost 26 years at the British fashion house, 13 of which were spent as creative director. She was highly acclaimed for her impeccable craftsmanship and tailoring techniques (designing Kate Middleton’s wedding dress was just one of these iconic moments). When the announcement of her appointment to Givenchy was revealed in 2024, it felt like the perfect fit for a brand desperate to design from the female gaze. 

 

For Burton’s debut, her strategy relied on bringing the core house codes from the roots of Hubert de Givenchy to the contemporary woman. She explained in an interview with Vogue, “I always think that to go forward, you have to go back to the beginning.” She specifically noted how she referenced Givenchy’s very first show in 1952, taking inspiration from old photographs exclusively in black and white. His original emphasis on silhouette struck her the most.

 

Unlike many modern designers relying on fantastical or gimmicky-looking pieces, Burton reminded the Paris crowd of the true power of exquisite tailoring and craftsmanship. The collection consisted of sharp suiting, pinched-in hourglass waists, pronounced shoulders, as well as structured mini-dresses. The opening look was a sheer black catsuit with “Givenchy Paris 1952” written across the chest, referencing a classic mannequin, the baseline of each look. Common themes throughout many of the looks were bows and knotted detailing: Burton constructed long evening gloves that tied into a wide bow at the shoulders. For many of the more tailored, workwear inspired looks, Burton used what she named a “couture seam,” or a rounded sleeve that appears to slightly twist around the arm. She cuts the sleeve on a curve and presses it for a more feminine shape – combining construction of both womenswear and menswear. 

 

A common complaint of her work during her time leading Alexander McQueen was that her designs were almost too practical. Critics believed that she had lost the fantastical allure that the house once had. However, designing for the modern woman is undeniably what Burton does best, and exactly why her appointment at Givenchy makes sense. In the show notes, she described wanting to address anything and everything about the modern woman, writing,“Strength, vulnerability, emotional intelligence, feeling powerful or very sexy – all of it.”

 

It’s also important to note the casting for her debut as well. In the Ozempic era where it seems models continue to appear slimmer, the annual Vogue Business size inclusivity report for the Autumn/Winter 2025 collections reported that plus-size and mid-size representation made up just under 2.3% of all AW25 looks. Sarah Burton’s Givenchy debut was one of few shows to cast over one plus-size or curve model. This was also a first for Givenchy, who had yet to cast a plus-sized model. Aside from a decent variety of sizes that weren’t thin, a refreshing amount of age diversity was seen on her runway as well. 

 

The need for women in creative director positions at top fashion houses is stronger than ever. Sarah Burton’s debut at Givenchy was one of three female designers that debuted at a new house in 2025, while it seems male creative directors are swapping positions at major brands almost every other day. An industry tailored to women has seen a surge in male creatives taking over leading design roles, sometimes replacing a woman as creative director or taking over a female-founded company. After Sarah Burton departed from her position at Alexander McQueen, she was succeeded by Sean McGirr, which spurred controversy when it was reported that his appointment meant all brands owned by Kering had a white man as CD. The perspective of a woman designing for women is more important than men in the industry might believe. According to fashion data analyst @databutmakeitfashion on Instagram, Fall/Winter 2025 womenswear collections designed by women were 51% more popular on average compared to other collections during Paris Fashion Week. 

The highly anticipated show ended with a standing ovation, further proving that Sarah Burton’s presence in fashion was dearly missed during her almost two year absence. With a couture debut expected in 2026 and soon Givenchy’s menswear, this new chapter in Burton’s already exceptional career will be exciting to watch move forward.