Olivier Theyskens F/W 2019.20 Paris

[perfect blue]

We need more designers who give as much to fashion design as much as Olivier does. So tired of trends and gimmicks for the last 4-5 years. This collection is refreshing.

 

[YohjiAddict]

I had forgotten how much I missed his gowns those belowing hemlines and slithering seams are always a pleasure to watch. My big probelm with this was the satin tailoring which did felt a bit 80's mother-of-the-bride.

I was however quite pleased by, again, the gowns (that closing number in particular) with their strange victorian swagger and that bolero jacket worn with a matching skirt which is just beatifully realized, somewhat strict yet very sensual.

 

[dodencebt]

Only thing I’d have done without is the jewelry. Doesn’t add anything and looks a bit dated.

Yes! Strip away the jewelry, the platform shoes and most of the opera gloves and replace them with something more contemporary and you have a timeless collection that still belongs to this decade. I think he needs better styling, because the only way his collections work for me now is when I imagine the pieces on their own without the supporting elements.

The hot pink dress with the bow is magical.

 

[TaylorBinque]

Showing all these designers how to make dress and cut clothes in a masterclass. Can we have MGC and Virgil as first students.

We don't deserve you Olivier. Now I hope he continues on this direction. It's much focused and really shows his skills.

 

[Vitamine W]

Gorgeous. Beautiful dark romantic counterpoint to IMO Rick Owen's collection. Brooding, layered, exceptional construction and silhouettes. Masterful. Ive been waiting seasons for Oliver to deliver again like this. Im have been rooting for him so hard to land a spot where he belongs, and he did it.

 

[dior_couture1245]

The full show video with original soundtrack.

Highlight of the season - by far. The only show that really stands out to me amongst the mass of abysmal, phony “designers.”

 

[softgrey]

he should go and design Givenchy, imho...

 

[HeatherAnne]

he should go and design Givenchy, imho...

Because Clare is doing a bad job? Far from it. And okay, even if you don't like her, it's the hottest house going right now. There are plenty others in desperate need of someone with his talents.

 

[softgrey]

Because Clare is doing a bad job? Far from it. And okay, even if you don't like her, it's the hottest house going right now. There are plenty others in desperate need of someone with his talents.

I just think it's a good fit...
based on the history of the brand and his design aesthetic ...
nothing to do with Clare or anyone else...
just where I see Olivier being able to create what he wants for the market that wants it...

 

[Lola701]

he should go and design Givenchy, imho...

He should stay at his own house, build his clientele and grow organically.
He has the potential to have a career à la Alaia.
He did wonderful things at Rochas and Nina Ricci but he is not Galliano. He doesn’t have that thing that could make him a big creative director for a major house.

With the right backing, right support he can reach Giambattista Valli level.

 

[tricotineacetat]

His aesthetic is niche and that's a good thing, not every designer needs to do Instagram-ready clothes for millenials - For me, he stands more in line with people like Hussein Chalayan, the other Belgians and yes, Alaia. So in that regard, I'm happy he never sold out by doing streetwear clothes the way Riccardo Tisci did at Givenchy, or had his clothes worn by celebrities that are not a natural fit for his design. Something that would have been inevitable if he had to work for a LVMH or Kering-owned house. Does the world need a Theyskens-designed sneaker or small leather goods line? Probably not.

 

[tricotineacetat]

I guess part of the reason I appreciate Olivier as much is that he stands as a reminder of the days when it took a kinship of taste and attitude to wear certain designers. If you wore Helmut Lang or Ann Demeulemeester, you were most likely not wearing Versace, or leading the life of the woman that would wear Versace. You probably listened to very different music, appreciated different kind of art or furnished your apartment in a much different way than that person. I get the idea that people are much less committed to a specific aesthetic and will rather jump between things that feel 'of the moment' - So in a way, with a designer like Olivier who has stayed true to his point of view so much, it goes very much against the grain of what high fashion is like in 2019.

 

[Foxie-Pooh]

I loved the collection in photos but I'm sorry to say that it does not translate well in motion. The clothes appear to be so stiff and awkward on the girls. Also, I feel like some of the flaws are quite obvious...I don't believe we are supposed to notice all the excessive puckering and wrinkling on those shinier garments when they move round?

I'm not sure if it's the fabric or construction that's giving us the problem, but he's never had issues before with Rochas and Nina Ricci. Does he need a bigger budget, a more seasoned atelier, or a better stylist?

I really want him to succeed and rise above the trash that's been dominating "high" fashion, but I have been quite disappointed in his offerings thus far. Some of the clothes are extremely expensive but the quality is lacking in real life (who carries Olivier Theyskens in the US besides BG anymore?) I hope he gets the backing and support that he needs to put his vision to life because I don't know how much longer he can sustain the business on his own...

 

[tricotineacetat]

I can't say I find the technical flaws you see to be all that obvious when the criticism is based on a runway video where the garments are exposed to extreme spotlights - It's an argument I also overheard at the recent Tom Ford collection as well as any of Raf Simons' couture shows at Dior - A house that definitely employs some of the most skilled artisans in Paris couture.

I will agree that the pricing of his line is generally quite high if we compare that to Dries van Noten or Ann Demeulemeester but I would say it's on par with Altuzarra, Mary Katrantzou or other designers of a younger generation (Looking at Richard Quinn) where these price points are not so much questioned. Again, I find it insightful to look at the Moda Operandi trunk show to get a better idea what the collection looks like in separates - To me, this looks like he's moving in the right direction, by adding more affordable separates and with most of the dresses being timelessly beautiful choices.

 

[Norden]

I guess part of the reason I appreciate Olivier as much is that he stands as a reminder of the days when it took a kinship of taste and attitude to wear certain designers. If you wore Helmut Lang or Ann Demeulemeester, you were most likely not wearing Versace, or leading the life of the woman that would wear Versace. You probably listened to very different music, appreciated different kind of art or furnished your apartment in a much different way than that person. I get the idea that people are much less committed to a specific aesthetic and will rather jump between things that feel 'of the moment' - So in a way, with a designer like Olivier who has stayed true to his point of view so much, it goes very much against the grain of what high fashion is like in 2019.

You hit the nail on its head. What’s lacking in today’s fashion to me is a sense of culture and diversity. There seems to be a very globalized idea of what is ‘cool’, and it’s apparant in all runway shows and how they present themselves. However dire the situation, it seems more and more designers are becoming aware of this, I sense a change in the air. I’m happy Olivier is staying true to himself, and I see some amazing improvements. If he continues like this, he might have something durable on his hands.

 

[Perickles]

I really love this. Great collection. I haven't seen a good collection like this in years.