Actually really like his casting. It’s likely his personal preference of the ideal women: A little awkward, a little shy, bit mousey, an introvert that's confident in her individuality. She comes off real, and fits his brand of pragmatic, wearable, and still romantic sensibility.
The opening looks are the weakest. But once the slim pant and longer, leaner, knee-length pencil skirted silhouettes appear, it’s all so intoxicatingly sublime and gorgeous in its no-nonsense brand of a new romantic. The black silk slinky knee-length dress cut with the modest turtleneck and worn with skin hugging leather boots and gloves is one of the sexiest imagery of this season. Much like a man who’s got a great built but chooses a white button-down oxford with the sleeves rolled up instead of flexing in a tacky skintight, transparent shirt, Olivier knows how to transform the modest into full sinister smoulder.
Along with his cast, the location— and this sort of location always reminds me of Galliano’s best showing and collection— the one at São Schlumberger’s mansion. It’s intimate, simple and direct, the styling is full-on mood and attitude. It’s so great to see him evolve and move on from that brand of impossibly dark gothic romance of his Nina Ricci days to this brand of a new modern romance that is still his, and doesn't feel compromised or contrived. If I were a woman, he’d rule my wardrobe.