I like how this is very obvious. This screams Middle East as the clientele, this is the type of the rich, tacky Middle Eastern woman you'd see going inside Harrods or Lafayette. The colours, the cut, the make up, the bling, all of it. It is very Balmain, but as if he rose from the dead and the oil wives approached him for the looks.
Those ugly shoes. Some designers should understand that no woman wants her feet to look bigger…
As @dontbeadrag said, this collection seems very directed to a particular market!
This season more than ever before, it’s not just about an aesthetic but talking to the existing spending clientele.
What saves Olivier, always, is the cut and craftsmanship.
The best thing about this collection is the cast. Seeing the original Prada woman, Charlotte Pellé Flossaut is such a nice surprise! All those veterans models! I love it.
Not good in spite of the venue, cast and makeup, which I actually liked. The floral/fruit prints he chose are the main culprit for the astounding tackiness of these clothes, they look like fabrics that even Richard Quinn deemed matronly. The use of Schiaparelli-esque embroideries is the cherry on top of this trash heap.
Some of the leather pieces and vests could be repurposed into something passable but the rest is tacky and tired, just like his muse Kim K.
indeed his saviour and almost redeeming factors are how well everything is executed… but then, regardless of how directional in terms of clientele it is or not, it’s very dowdy.
You can clearly see the clientele for this. It's so obvious and to be so frank is rather admirable. You can smell and almost see the exchange of money happening here, with the waft of fresh oil, jet fuel and and the over zealous application of perfume.
Still don't enjoy his work though. Clearly not for me, but I find it so overworked it hurts my eyes a little bit. It leans into costume caricature, but that is also the clientele for this so really Olivier is doing a stellar job. Gotta keep those lips plumped.
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