In the heat of the Parisian summer, Riccardo Tisci presented his Fall Winter 2010-11 couture collection for Givenchy on tuesday, in the sun-drenched salons of the Hotel d’Evreux on the Place Vendôme. Foregoing the tension and ceremony of the runway, the presentation of ten silhouettes lost nothing in the break from convention – rather allowing close inspection and appreciation of some of the most delicate craftsmanship in fashion today.

The static display channeled Riccardo’s stream of consciousness into three chambers – one gold, one white and one nude – with an additional room showcasing a commissioned collection image by Willy Vanderperre. Two models walked with reverence through the salons, as guests were free to mingle between the silhouettes that hung from gilt frames in the ornate rooms, with shoes sitting on lacquered black plinths in organic forms. Each room explored different facets of the Givenchy codes, from heavy metallic hardware to delicate silk fringing, exquisite beading and crystal appliques, and sheer lace and panelled leather.

All Riccardo’s gothic references were there, however less evident than his recent menswear outings. Looking closely, the core detail of a white ruched coat was a petite skull bead and the corset belt around a lace evening dress cinched with layers of ceramic vertebrae. The gold encrusted tailcoat was crafted with a crucifix pattern extending from the shoulders, and a skin-coloured marabou feathered evening dress with full gloved hands held a sparkling ribcage of Swarovski crystals.

The fourth room was dominated by an immense floating canvas, with ten manes of hair floating down the ten silhouettes – a group portrait shot from behind by Willy Vanderperre. On the opposite side, the faces of Riccardo’s muses were revealed, with favourites such as Maria Carla Boscono, Lea T, and Malgosia Bela standing apostolic alongside new faces such as Daphne and Ming.

The display echoed the glory days of couture, truly encompassing a craft that is barely evident in the racked garments of department stores and even pret-a-porter today. Pure and painstaking, each piece spoke on its own as an artwork of passion and romantic addiction.