Olivier Theyskens S/S 2022 Paris

[susseinmcswanny]

If the execs at Givenchy have any brains, they should tap him.

At this point I really don't think LVMH gives one f*ck about hiring someone to make beautiful clothes

 

[Marc10]

This really feels like a couture collection. Just a simple, yet amazing, exercise of ideas. Working on technique, cut and fabrics. So effortless!

 

[dior_couture1245]

If the execs at Givenchy have any brains, they should tap him.

They don't.

And at this point, the way corporate fashion is run, I'd hate to see Olivier forced to make a merchandizing team directed fanny pack or sneaker. He's better off here, taking his time to make these beautiful clothes on his own terms.

 

[MulletProof]

^ exactly.. can’t ever understand this mentality.. ‘ugh love him so much I would love to see him in a sweatshop churning out s*it 12 hours a day’.. good thing you love him lol…

 

[Deleted member 141309]

Wow, what an amazing collection. Goes with Yohji and Loewe together for me as the best of the season. The patchwork dresses are a total hit. Thank you Olivier, Yohji and Jonathan for saving this mess of a season. What a beautiful set of clothing to look at, so many details and looks so unpretentiously chic.

This was an art exhibition level of experience. A sexy one as well.

 

[Lola701]

It’s better for him to show on mannequins than on a low budget cast.

The clothes looks great. Maybe his best work since his comeback.

It’s total fantasy, what he does best. We don’t need him at Givenchy or any brand of LVMH…Practical daywear is not his speciality. He is a go to designer for something special. Let him be that.

 

[tricotineacetat]

It was a smart decision for him to create a collection like this, securing him the talk of everyone for something so decidedly anti-commercial, serving as somewhat the antithesis to the co-branded Versace/Fendi show in Milan. He's probably figured out by now that yet another show produced in the same way as his previous ones won't get his brand anywhere, particularly at a time when the economy and demand for high fashion as his' is uncertain - With a little smart placing of these dresses and the already favorable reviews to this collection, interest in his work could very well be renewed.

 

[jeanclaude]

With just 22 looks, Theyskens has put all the industry to shame. Now that all "smoke designers" are so obsessed with 90s, this shows them why that decade was so great in fashion terms: because of the talent!

You don´t need models nor big sets to create something as special and full of passion for creation as this collection. All the focus must be the garments, the show are the clothes!

I love the way he has infused patchwork with a dark and sophisticated aura.
You really need to have such a good taste to give patchwork this kind of treatment, because just one misstep can easily make the whole collection look like Desigual or home-made blankets.

I can´t remember when was the last time I loved a whole collection. It´s been years...but now I can say I love this collection. All of it.
So cohesive, coherent and perfectly edited. Not need for 100 looks, no need for unnecesary accessories here and there...no need for marketing at all!

This deserves for me the title of "Best collection of the season".

 

[GreyVetiver]

If the execs at Givenchy have any brains, they should tap him.

they won’t, they just care about the name and hype. we wouldn’t be in the current state if they had cared about fashion.

 

[perhydrol]

I love the way he has infused patchwork with a dark and sophisticated aura.
You really need to have such a good taste to give patchwork this kind of treatment, because just one misstep can easily make the whole collection look like Desigual or home-made blankets.

I love the whole process behind those patchworks because they cooked them, too, so the colours started to blend into each other and it gave a deeper effect. But you need to be passionate enough to think about such things, and nowadays designers don't even have time (and will) to do that.

 

[WAVES]

GORGEOUS collection and I would’ve loved to see it in motion.

 

[Fiercification]

Just excellent and yes, somehow you can appreciate the details all the more on the mannequins. It's sad that there isn't an editor really championing his work these days - he deserves at least a little editorial coverage, even if it doesn't amount to that much exposure. His clothes were made to be photographed!

 

[Pastry]

one of the things i remember reading about how theyskens got his first big account (barney's or something of the sort) is the buyers' recollection of meeting him for the first time.

they described an atmosphere of a very small studio with olivier making things by hand, hand-finished fabrics and i think bits of antique textile...really special stuff.

and even with the dyes bleeding into each other. that's so characteristically theyskens. i remember years (maybe even over a decade) ago, our own tricotineacetat talking about some of his dyeing processes being irreplicable because they were the result of being put through the washing machine - totally unpredictable. in this case - the heat treatment of the garments reminds me of that.

it's all these chance-y finishes that, to me, define his talent and this attention to detail is also unfortunately what made it very difficult for his previous employers to mass produce his designs; we all know what happened there.

and isn't it ironic that after all these years it appears that he got back to doing exactly what he's best at.

no one will make billions with this, but it's obvious that this can be a very small, but sustainable business model nonetheless.

as long as the impact of the work is felt and him and his assistants can make a living...what's the point if trying to force force this talent into a corporate mould? obviously people are hungry for more singular points of view like olivier's. and i don't think he needs help in the client department with his decades of experience in fashion.

it's almost like looking at one of his rochas or nina ricci collections like i did when they originally came out. even then we were all screaming, "give him his own label!!". i really hope he can make a go of it this time. harmony makes money, olivier; keep going!

 

[Delleone]

E X Q U I S I T E.
bravo bravo bravo.
This is pure fashion love. Humble, intricate, imaginative, powerful. Faith restored.

 

[Uemarasan]

It’s better for him to show on mannequins than on a low budget cast.

The clothes looks great. Maybe his best work since his comeback.

It’s total fantasy, what he does best. We don’t need him at Givenchy or any brand of LVMH…Practical daywear is not his speciality. He is a go to designer for something special. Let him be that.

Yes, good for him for realizing that corporate luxury fashion is not the mode he should be working in. Instead, here, he’s allowed to breathe and produce the work he does best. Not every designer needs to be forced into mercenary business positions until he/she breaks down and is shuttled off into the darkness.

 

[tricotineacetat]

It's hinted in the VogueRunway review that he might be doing artisanally upcycled pieces like these as a side offering to his regular RTW (that is being produced in Italy), similar to how MMM's artisanal line existed not per se as an Haute Couture collection but as an upcycling business, limited because of the limited/unique quality of each piece - If Olivier succeeds at something similar to that, bravo to him for figuring out a means to bring sustainability and beauty together - We all know how much fabric waste is being produced every season by the fashion industry.

 

[Phuel]

Gorgeous. And personally I think it looks better on a mannequin! No model today really knows how to give clothes justice, so it’s nice to not be distracted by some gangly spider girl.

Love all the work that went into these pieces. Very special. So elegant.

I like Olivier’s ideal of a dreamy, introverted— even mousey, awkward gamine vision of a woman. He’s always preferred this type, and I doubt he would change his casting even if he had the budget. Can’t really blame this era’s motley crew of forgettable models on his preference. (Also adds another dimension to his vision of fashiondom when placed alongside he extroverted, vampy party girl of his Azzaro Couture.)

Solid offering. Very devoted dressmaker quieting churning away in his own world for his select and devoted clientele. However, I’v e always had a disdain for patchwork and will so until the day I leave this mortal coil. And, that it’s Olivier’s admittedly gorgeous take on patchwork isn’t going to change my mind. The monastic simplicity of the silhouette is very much in the spirit of a more romantic Margiela’s debut, complete with the chipped walls of the setting. It’s very arte povera couture. Wished he were able to showcase his collection on a cast, spirited away in some dusty but romantic mansion somewhere in the seclusion of Fontainebleau— and of course, on his usual cast of mousey, introverted beauties sweeping through the dark wood floors with the sound of their heels… Swoonworthy goodness all around— and proves that genuine talent will always rise above all the bought hype and all the corporate money backing a brand…

(Corporate leeches fcuk far far far away off from Olivier: Never want to see logos on hoodies/bucket hats/sneakers and one-size-fits-all billowy dresses associated with him :coughatou:cough:…)

 

[MulletProof]

^ love that there's accidentally one of the worst tfs smileys in your post knowing how much you hate them all.

But yes, I agree with that last part. His 'dreamy', introverted women were different though.. his casting in the Rochas days, my god.. Stella Tennant, Eugenia Volodina, Frankie Rayder, Caitriona, pre-Wang Erin Wasson, Romina.. women who were naturally so elegant, sophisticated and commanding-looking. And even better way before that when he started his own label (Mini Anden, Kirsty Hume..). He definitely developed something for the more elf-ish, frail types around Nina Ricci and the casting for his shows in recent years has just been.. awful, and counterproductive.. just some terribly pedestrian, sleepy-looking, hunched girls that emit nothing in his clothes. I know there's the budget aspect but like I said in one of the threads from 2019 or 2020 (when he hit rock bottom), there must be someone..

 

[dior_couture1245]

^ love that there's accidentally one of the worst tfs smileys in your post knowing how much you hate them all.

But yes, I agree with that last part. His 'dreamy', introverted women were different though.. his casting in the Rochas days, my god.. Stella Tennant, Eugenia Volodina, Frankie Rayder, Caitriona, pre-Wang Erin Wasson, Romina.. women who were naturally so elegant, sophisticated and commanding-looking. And even better way before that when he started his own label (Mini Anden, Kirsty Hume..). He definitely developed something for the more elf-ish, frail types around Nina Ricci and the casting for his shows in recent years has just been.. awful, and counterproductive.. just some terribly pedestrian, sleepy-looking, hunched girls that emit nothing in his clothes. I know there's the budget aspect but like I said in one of the threads from 2019 or 2020 (when he hit rock bottom), there must be someone..

Amen! Exactly my thinking.

 

[Phuel]

^ love that there's accidentally one of the worst tfs smileys in your post knowing how much you hate them all.

But yes, I agree with that last part. His 'dreamy', introverted women were different though.. his casting in the Rochas days, my god.. Stella Tennant, Eugenia Volodina, Frankie Rayder, Caitriona, pre-Wang Erin Wasson, Romina.. women who were naturally so elegant, sophisticated and commanding-looking. And even better way before that when he started his own label (Mini Anden, Kirsty Hume..). He definitely developed something for the more elf-ish, frail types around Nina Ricci and the casting for his shows in recent years has just been.. awful, and counterproductive.. just some terribly pedestrian, sleepy-looking, hunched girls that emit nothing in his clothes. I know there's the budget aspect but like I said in one of the threads from 2019 or 2020 (when he hit rock bottom), there must be someone..

Yes, of course there are— it’s clearly just his preference for a certain type. Weren’t too familiar with all the details of his Rochas and Ricci, so maybe fortunately for me— don’t feel attached to a certain women that idealized his designs.

Nonetheless, all those fantastic women namedropped were representative of a supreme era in fashiondom. It may very well work for Olivier to invite them back, just that trotting them out in the context of today’s lesser times would just seem too reliant on nostalgia rather than showcase where he is now in 2021 (…like what the other Olivier did with his recent showing. Or whatever messiness Donatella always succeeds at whenever she wrangles up the Supers to compensate for the alway guaranteed concentrated cheapness that’s become synonymous with Kors’ Versace). And frankly, I like where Olivier is now— including his vision of women; the designs may not be grand, sprawling and impossibly dramatic and worn by these immortals like of his past— but it’s still as devotedly all about a certain feminine allure, mystique and magic-- and a new romantic. And fortunately for me, his Azzaro women succeeds as well. So his world is even more creatively diverse and inclusive of varying attitudes and mood. And his usual cast of a new model army is very much a part of his story now.

(LOL @Patou ending up as a stupid emoji… Seems fitting.)