Haute Couture Clients

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Kite said:
Sorry the biggest serve here is Michelle Obama in Olivier Theyskens for Nina Ricci Fall 2008! hahaha
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Thought so, too!

One can only dream how Haute Couture through the hands of Olivier would look like.

I honestly don’t understand why Gaultier did not choose him but instead had Nicolas Di Felice, Julien Dossena and Glenn Martens…
 
tricotineacetat said:
I honestly don’t understand why Gaultier did not choose him but instead had Nicolas Di Felice, Julien Dossena and Glenn Martens…
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If I were JPG, I’d be afraid of somebody half my age “out-designing” me, which could very well be the case w/ this Olivier. But it’s still a great idea nonetheless.
 
tricotineacetat said:
Thought so, too!

One can only dream how Haute Couture through the hands of Olivier would look like.

I honestly don’t understand why Gaultier did not choose him but instead had Nicolas Di Felice, Julien Dossena and Glenn Martens…
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It may happen but I can actually understand why Gaultier didn’t choose him…
The general appreciation over Olivier’s talent is very nostalgia based. Except for people who are die hard fans, I don’t think his work for Theory or even for his own brand when he came back really added to the fashion conversation.

All the designers Gaultier choose for the most part are active or at least were very active from the years where he only started to do Couture.

Maybe Haider stand out more as he is not very designing but he is very social in the Parisian scene and part of that entourage that has been around Gaultier (Pierre Hardy, Christian Louboutin…etc).

It’s not impossible for Gaultier to choose him much like I think he could choose anybody really but it’s totally understandable.
 
tricotineacetat said:
Thought so, too!

One can only dream how Haute Couture through the hands of Olivier would look like.

I honestly don’t understand why Gaultier did not choose him but instead had Nicolas Di Felice, Julien Dossena and Glenn Martens…
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Probably his bias...I mean sometimes i don't understand why i have an aversion/disinterest towards something that most people like, it's so random lol. i think Gaultier himself does too and we should probably just accept it whether we like it or not.

Gaultier is a very open and generous person, i don't think he's the kind to respect someone solely for their exceptional talent. Perhaps he doesn't see Olivier's works belonging to his "nobrainer" world...
 
Lola701 said:
It may happen but I can actually understand why Gaultier didn’t choose him…
The general appreciation over Olivier’s talent is very nostalgia based. Except for people who are die hard fans, I don’t think his work for Theory or even for his own brand when he came back really added to the fashion conversation.

All the designers Gaultier choose for the most part are active or at least were very active from the years where he only started to do Couture.

Maybe Haider stand out more as he is not very designing but he is very social in the Parisian scene and part of that entourage that has been around Gaultier (Pierre Hardy, Christian Louboutin…etc).

It’s not impossible for Gaultier to choose him much like I think he could choose anybody really but it’s totally understandable.
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Dismissing the appeal of his designs as purely nostalgia-based is a bit lazy considering that he regularly has bridal customers, there is nothing particularly dated about his dresses, they are essentially mid-century couture shapes that could fit with many of the storied couture maisons still active today. There’s a classically beautiful appeal to his design and it wouldn’t be hard to imagine a-list celebrities wearing his couture, much as they did when he was designing Rochas and Ricci. In fact, I would go as far as to say that noone does better red-carpet dresses than Olivier!

Haider’s collection was arguably the strongest couture collection for Gaultier, especially for a brand not reliant on sales. I’m not sure his point of view is necessarily more ‘now’ than Olivier’s, but he had women like Daphne Guinness or Tilda Swinton who wore it. His style is more edgy than Olivier’s, often leaning towards the “difficult-to-wear” territory where Olivier’s are more classically beautiful, if only with a touch of demure elegance.

While Olivier’s name might no longer be hot on the lips of industry head hunters I think his name still commands a certain authority much like Chalayan or other names of his generation who are presently not active.
 
tricotineacetat said:
Dismissing the appeal of his designs as purely nostalgia-based is a bit lazy considering that he regularly has bridal customers, there is nothing particularly dated about his dresses, they are essentially mid-century couture shapes that could fit with many of the storied couture maisons still active today. There’s a classically beautiful appeal to his design and it wouldn’t be hard to imagine a-list celebrities wearing his couture, much as they did when he was designing Rochas and Ricci. In fact, I would go as far as to say that noone does better red-carpet dresses than Olivier!

Haider’s collection was arguably the strongest couture collection for Gaultier, especially for a brand not reliant on sales. I’m not sure his point of view is necessarily more ‘now’ than Olivier’s, but he had women like Daphne Guinness or Tilda Swinton who wore it. His style is more edgy than Olivier’s, often leaning towards the “difficult-to-wear” territory where Olivier’s are more classically beautiful, if only with a touch of demure elegance.

While Olivier’s name might no longer be hot on the lips of industry head hunters I think his name still commands a certain authority much like Chalayan or other names of his generation who are presently not active.
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Maybe my post would suggest that I’m dismissing Olivier but to put it simply: Maybe he is not on Gaultier’s radar like that. Adding to the fact that his Rochas and Nina Ricci years are already more than a decade old, that his return to the catwalk didn’t made that much noise, it’s understandable that Gaultier, who may not be a fan like you, of Olivier’s work, doesn’t necessarily think about him when he is suggesting names for his Couture collection.

If so, there are plenty of designers, with a glorious history that could have had that opportunity too.

Judging by the choices made so far, it’s about designers that are currently active in the fashion scene or close to his crowd.

Gaultier have been very supportive of Weisento who was one of his assistant. Im surprised he didn’t have a collection still for example.

And to my point, everybody is posting gowns from 2008 or 2005 as a reference point for a choice someone is supposed to make today. Maybe Olivier is not his sensibility either.

And at the same time, I say that we don’t know, it may also happen one day.
 
Lola701 said:
Maybe my post would suggest that I’m dismissing Olivier but to put it simply: Maybe he is not on Gaultier’s radar like that. Adding to the fact that his Rochas and Nina Ricci years are already more than a decade old, that his return to the catwalk didn’t made that much noise, it’s understandable that Gaultier, who may not be a fan like you, of Olivier’s work, doesn’t necessarily think about him when he is suggesting names for his Couture collection.

If so, there are plenty of designers, with a glorious history that could have had that opportunity too.

Judging by the choices made so far, it’s about designers that are currently active in the fashion scene or close to his crowd.

Gaultier have been very supportive of Weisento who was one of his assistant. Im surprised he didn’t have a collection still for example.

And to my point, everybody is posting gowns from 2008 or 2005 as a reference point for a choice someone is supposed to make today. Maybe Olivier is not his sensibility either.

And at the same time, I say that we don’t know, it may also happen one day.
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I mean, I make my money selling archival designer clothes to people that are mostly 15-20 years old by now, so it comes as no surprise I have to do that with the conviction that those were better days in terms of design than they are now.

Surely when we think of the heydays of Tom Ford, Hedi Slimane or Nicolas Ghesquiere, it’s those years and those collections (from Gucci, Dior Homme or Balenciaga) that people think of first and foremost and not Tom Ford (the label), Celine, or Louis Vuitton - It’s almost tragic to think on what a low Tom Ford decided to leave fashion, that’s why I find the criticism regarding the two Peter Hawkings collections to be unjustified. The last few years of Tom Ford’s own creative output were lackluster, to say the least, and it shows by what price by comparison pieces from his iconic Gucci collections sell for on the re-sale market.

None of that really surprises me, though. We’re finding ourselves at a time where I don’t think a lot of designers really produce clothes that are worth keeping, things that exude a timeless modernity. So their worth is really more based on the “nowness” factor and less the idea that they are worth preserving beyond.
 
tricotineacetat said:
I mean, I make my money selling archival designer clothes to people that are mostly 15-20 years old by now, so it comes as no surprise I have to do that with the conviction that those were better days in terms of design than they are now.

Surely when we think of the heydays of Tom Ford, Hedi Slimane or Nicolas Ghesquiere, it’s those years and those collections (from Gucci, Dior Homme or Balenciaga) that people think of first and foremost and not Tom Ford (the label), Celine, or Louis Vuitton - It’s almost tragic to think on what a low Tom Ford decided to leave fashion, that’s why I find the criticism regarding the two Peter Hawkings collections to be unjustified. The last few years of Tom Ford’s own creative output were lackluster, to say the least, and it shows by what price by comparison pieces from his iconic Gucci collections sell for on the re-sale market.

None of that really surprises me, though. We’re finding ourselves at a time where I don’t think a lot of designers really produce clothes that are worth keeping, things that exude a timeless modernity. So their worth is really more based on the “nowness” factor and less the idea that they are worth preserving beyond.
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You know, I think with revisionism, I don’t attach that much importance in heydays (personally) but rather to creative intention. Nowadays, Frida’s tenure at Gucci is seen in a totally different light to what it was…
So, even Tom Ford by Tom Ford can experience the same trajectory. I bought his clothes, much like I’m buying Nicolas’s clothes nowadays, for the creative intention and not necessarily for the relevance in terms of fashion.
SS2015 wasn’t a critical success for Tom Ford. I love that collection, bought a jacquard camo pantsuit, a skirt and a sequined long sleeved tshirt. Maybe in 20 years the collection will be seen differently, even more because Rihanna wore a white dress from the collection. Who knows?
Are the last few years of Azzedine that great? Not really because the excitement was really on the fabrics and finishing rather than on the silhouettes but maybe Original Alaia will have the same value as current 80’s Alaia in 20 years.

I think heydays are a very specific thing, a very specific momentum that connects many dots that couldn’t be replicated but that doesn’t affect a creative intention.

For the mass, late 80’s to mid 90’s Chanel were the heydays of Karl at Chanel. While I love 80’s Chanel, the Couture collections of the early 90’s, I think late 90’s Chanel was exceptional and the 2000’s even more glorious and fun. I don’t think those periods performs that well except for accessories in the vintage market. But his more IG friendly collections of the 2010’s had a momentum.

To tie it back to Olivier, he is a gifted designer but there’s also a sense of an aborted story in his trajectory. I strongly believe that the cult around him and his work is also linked to an idea of creative intention.
I don’t even think that the majority of his work for both Rochas and Nina Ricci was truly a real representation of his personality. His last Nina Ricci collection was really him though and I remember how people were happy about that collection.

And I think because he is not a designer who really had the opportunity to express his his vision on a long run, there’s this appetite to see him anyway. Nina Ricci and Rochas were maybe too romantic for him anyway so in a sense to see him at Gaultier do a collection would make more sense regarding his sensibility.
But for now, at least, he is not on Jean Paul’s radar. Maybe someone should put him on JPG’s radar. Let’s spam Farida Khelfa IG to ask her to suggest Olivier to JPG then!
 
Just FYI, Gaultier has no decision in who is picked for the next Collaboration Couture.

He apparently left a list of 100 names and the company picks / reaches out to people to see if the schedules work together but JPG doesnt dictate the next collaborator nor does he see the collection until it is on the runway.
 
256.- Europe - Monaco - HRH Princess Caroline Louise Marguerite: House of Hanover (PART 2) (She has SO MUCH Chanel HC I cant post it all!)

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GettyImages/ VogueRunway / FirstView / ALAMY
 
258.- America - US - Jamie Singer Soros

She got married wearing 2 Ralph & Russo couture dresses.

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Credits: vogue.com
 
 
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