stylegurrl
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There is nothing here that I would personally wear, but I applaud Olivier for the beauty of his designs and his incredible talent. 
Rochas S/S 06 Paris
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stylegurrl
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There is nothing here that I would personally wear, but I applaud Olivier for the beauty of his designs and his incredible talent.
LibertyRose
memoirs of a...
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Finally, pants at Rochas! I like how the pant suits are paired with pastel-colored tops. Lilac against black, what a great contrast.
As beautiful as the evening gowns are, I much prefer them sleeveless. The writer for US Vogue wore a long-sleeved one in teal and looked like a granny.
As beautiful as the evening gowns are, I much prefer them sleeveless. The writer for US Vogue wore a long-sleeved one in teal and looked like a granny.
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LibertyRose
memoirs of a...
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Finally, pants at Rochas! I like how the pant suits are paired with pastel-colored tops. Lilac against black, what a great contrast.
As beautiful as the evening gowns are, I much prefer them sleeveless. The writer for US Vogue wore a long-sleeved one in teal and looked like a granny.
As beautiful as the evening gowns are, I much prefer them sleeveless. The writer for US Vogue wore a long-sleeved one in teal and looked like a granny.
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liberty33r1b
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ah, i love this collection, definitely one of my fav paris shows!
every bit is just perfect, lovely, stylish.....
every bit is just perfect, lovely, stylish.....
liberty33r1b
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ah, i love this collection, definitely one of my fav paris shows!
every bit is just perfect, lovely, stylish.....
every bit is just perfect, lovely, stylish.....
hugobossdaria
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it seems like they have some of the pieces that they had last season
hugobossdaria
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it seems like they have some of the pieces that they had last season
MulletProof
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he did pants!.
MulletProof
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he did pants!.peacelover142002
go red sox
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Review from style.com:
PARIS, October 5, 2005 – A black pantsuit, paired with a shiny black miniaturized violin case for a bag: That's the news at Rochas. This was the first time Olivier Theyskens has shown a pair of trousers on this runway, marking another small step forward in his unhurried nurturing of the brand. With their slightly crumpled surfaces—as if dried after a sprinkling of rain—these pantsuits belong, for Theyskens, to the same poetic vision that embraces his long gowns, skirts, and high-neck blouses. "I felt it was time to do them," he said. "But I treated them with a flou, like I work the rest."
"The rest" related back to the attenuated, romantic Edwardian silhouette that appeared in his winter collection. This season, the impressionistic sources of his precious dresses were Claude Monet's paintings of his garden at Giverny—and faded sepia photographs of the lace-collared blouses, small jackets, and long skirts worn by the sculptor Camille Claudel, the wildly beautiful young lover and muse of Auguste Rodin.
The most-obvious clues to the designer's elusive references were water lily embroideries blossoming on gowns, but he executed his ideas with such subtlety that the chiffon surfaces of a deep-blue dress and the streaming flare of a pleated train seemed to flow like water. As for Claudel, she had to be the moving spirit behind the pale, off-white and mushroom-tinted dresses and the ruffled lace capelet-sleeve gown that was the collection's showstopper. Theyskens is more one to hint than hammer at a theme, though. All one really needs to glean from this season is that it's a gentle, lingering development of the ideas of a designer who resists external pressures to rush headlong from one thing to the next.
– Sarah Mower
PARIS, October 5, 2005 – A black pantsuit, paired with a shiny black miniaturized violin case for a bag: That's the news at Rochas. This was the first time Olivier Theyskens has shown a pair of trousers on this runway, marking another small step forward in his unhurried nurturing of the brand. With their slightly crumpled surfaces—as if dried after a sprinkling of rain—these pantsuits belong, for Theyskens, to the same poetic vision that embraces his long gowns, skirts, and high-neck blouses. "I felt it was time to do them," he said. "But I treated them with a flou, like I work the rest."
"The rest" related back to the attenuated, romantic Edwardian silhouette that appeared in his winter collection. This season, the impressionistic sources of his precious dresses were Claude Monet's paintings of his garden at Giverny—and faded sepia photographs of the lace-collared blouses, small jackets, and long skirts worn by the sculptor Camille Claudel, the wildly beautiful young lover and muse of Auguste Rodin.
The most-obvious clues to the designer's elusive references were water lily embroideries blossoming on gowns, but he executed his ideas with such subtlety that the chiffon surfaces of a deep-blue dress and the streaming flare of a pleated train seemed to flow like water. As for Claudel, she had to be the moving spirit behind the pale, off-white and mushroom-tinted dresses and the ruffled lace capelet-sleeve gown that was the collection's showstopper. Theyskens is more one to hint than hammer at a theme, though. All one really needs to glean from this season is that it's a gentle, lingering development of the ideas of a designer who resists external pressures to rush headlong from one thing to the next.
– Sarah Mower
peacelover142002
go red sox
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Review from style.com:
PARIS, October 5, 2005 – A black pantsuit, paired with a shiny black miniaturized violin case for a bag: That's the news at Rochas. This was the first time Olivier Theyskens has shown a pair of trousers on this runway, marking another small step forward in his unhurried nurturing of the brand. With their slightly crumpled surfaces—as if dried after a sprinkling of rain—these pantsuits belong, for Theyskens, to the same poetic vision that embraces his long gowns, skirts, and high-neck blouses. "I felt it was time to do them," he said. "But I treated them with a flou, like I work the rest."
"The rest" related back to the attenuated, romantic Edwardian silhouette that appeared in his winter collection. This season, the impressionistic sources of his precious dresses were Claude Monet's paintings of his garden at Giverny—and faded sepia photographs of the lace-collared blouses, small jackets, and long skirts worn by the sculptor Camille Claudel, the wildly beautiful young lover and muse of Auguste Rodin.
The most-obvious clues to the designer's elusive references were water lily embroideries blossoming on gowns, but he executed his ideas with such subtlety that the chiffon surfaces of a deep-blue dress and the streaming flare of a pleated train seemed to flow like water. As for Claudel, she had to be the moving spirit behind the pale, off-white and mushroom-tinted dresses and the ruffled lace capelet-sleeve gown that was the collection's showstopper. Theyskens is more one to hint than hammer at a theme, though. All one really needs to glean from this season is that it's a gentle, lingering development of the ideas of a designer who resists external pressures to rush headlong from one thing to the next.
– Sarah Mower
PARIS, October 5, 2005 – A black pantsuit, paired with a shiny black miniaturized violin case for a bag: That's the news at Rochas. This was the first time Olivier Theyskens has shown a pair of trousers on this runway, marking another small step forward in his unhurried nurturing of the brand. With their slightly crumpled surfaces—as if dried after a sprinkling of rain—these pantsuits belong, for Theyskens, to the same poetic vision that embraces his long gowns, skirts, and high-neck blouses. "I felt it was time to do them," he said. "But I treated them with a flou, like I work the rest."
"The rest" related back to the attenuated, romantic Edwardian silhouette that appeared in his winter collection. This season, the impressionistic sources of his precious dresses were Claude Monet's paintings of his garden at Giverny—and faded sepia photographs of the lace-collared blouses, small jackets, and long skirts worn by the sculptor Camille Claudel, the wildly beautiful young lover and muse of Auguste Rodin.
The most-obvious clues to the designer's elusive references were water lily embroideries blossoming on gowns, but he executed his ideas with such subtlety that the chiffon surfaces of a deep-blue dress and the streaming flare of a pleated train seemed to flow like water. As for Claudel, she had to be the moving spirit behind the pale, off-white and mushroom-tinted dresses and the ruffled lace capelet-sleeve gown that was the collection's showstopper. Theyskens is more one to hint than hammer at a theme, though. All one really needs to glean from this season is that it's a gentle, lingering development of the ideas of a designer who resists external pressures to rush headlong from one thing to the next.
– Sarah Mower
peacelover142002
go red sox
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So beautiful.
peacelover142002
go red sox
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So beautiful.
helena
Swim Upstream
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Fashion
Rochas and roll
[font=arial,helvetica,sans-serif]He's 26, hip, hot and Belgian. It's 79, staid, stiff and French. But when Olivier Theyskens took up the creative reins at Rochas, it was a marriage made in fashion heaven. Polly Vernon meets the mercurial designer in his Paris atelier[/font]
[font=Geneva,Arial,sans-serif]Sunday October 9, 2005
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Seven years ago, when Belgian designer Olivier Theyskens was just 19, he dropped out of fashion college and knocked up some 60 whole outfits on the floor of his bedroom in his parents' home in Brussels. He had no money - many of the wasp-waisted frocks and bustle skirts were fashioned from the antique linen and monogrammed napkins he'd pilfered from his grandmother's farmhouse in Normandy. Yet the resulting clothes were anything but thrown together.
Theyskens's first collection - which he launched six months later, in a self-funded runway show in a disintegrating chateau on the outskirts of Paris - was astoundingly assured. Fantastical and theatrical, as technically accomplished as it was creatively inspired, as daringly constructed as it was curiously wearable. The European fashion press adored it - even more so when they discovered the effete, whimsical, self-contained youth behind it. Theyskens came instantly to the attention of Madonna, who asked him to make her an outfit for Oscar night, thus cranking up his profile and giving him the leverage of influential celebrity marketing.
Was he surprised? Theyskens shrugs. 'I suppose I knew it would happen for me, but I expected it would take longer. I expected I would wait. For most names, it takes years. For me, it happened at once.'
Within two years, Theyskens had been made the 'name' behind Rochas. It would take him a few short seasons to entirely revitalise the label, transforming it from a fading memory into a major contender and a desperately desirable brand.
The Rochas/Theyskens collaboration wasn't an obvious venture for either party - an ageing, venerable, languishing label soliciting help from the hip, hot young Belgian boy on the block. And, though there was a natural affiliation between the two (the Chantilly lace, the femininity), Rochas didn't resonate with Theyskens at the time. 'I know this name, but I know it for perfume, not for fashion.' He went for it though, because, he says, 'It was very Paris to me, and I love this town, I understand this town.
I want to give fashion this Parisian elegance, this romance.'
He's currently in the throes of developing Rochas's accessories range, the handbags and shoes that will coin big Euros for the company, and assure both its and his future.
While he does take himself rather seriously, Theyskens is in possession of a sense of humour, a sunniness. He's clearly happy with the way things are going, pleased to be fulfilling his own destiny in such an obvious manner. He always knew he would make clothes: 'Always! Even as a very young child. I always knew where I was going, I would tell my teachers this.' He was, however, equally concerned with the accident of his gender.
'I think I am a girl! I think, "sh*t! What is this?" I am absolutely so sad to be a boy. To be a boy, this is wrong. And I read everything about a sex change when I am six years old. I think, "I will do this!" But then my shoulders grow, and so I change my mind. Because with these shoulders ...' He shrugs the offending appendages, which are, admittedly, oddly broad on his otherwise tiny frame. 'With these shoulders, I cannot be a beautiful girl. And I think, "If I cannot be a beautiful girl, there is no point."'
It's maybe because of this ingrained empathy that his collections are so pretty; designed to accommodate curves, and to flatter. Theyskens rails against the fashion industry's inclination towards misogyny. 'I love woman.
I love the body. But I see these other designs, these other clothes [he gestures dismissively at invisible racks of clothes created by people other than him] and they are so vulgar, and I think, "This is not loving women." With the fur and the big glasses! To make them look so vulgar, this is not loving women!'
In an equally unfashiony manner, Theyskens can be a realist about his art. 'An artist, he doesn't have to present a new show on schedule every six month. A designer does. But you don't necessarily have a new inspiration every time. So sometimes if I finish a collection and I think it is not so good, I think, "This is OK, because the next one will be."' Such pragmatism is pretty impressive in someone so young, and whose ascent has been so dizzying.
^^^from The Guardian[/font]
Rochas and roll
[font=arial,helvetica,sans-serif]He's 26, hip, hot and Belgian. It's 79, staid, stiff and French. But when Olivier Theyskens took up the creative reins at Rochas, it was a marriage made in fashion heaven. Polly Vernon meets the mercurial designer in his Paris atelier[/font]
[font=Geneva,Arial,sans-serif]Sunday October 9, 2005
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Seven years ago, when Belgian designer Olivier Theyskens was just 19, he dropped out of fashion college and knocked up some 60 whole outfits on the floor of his bedroom in his parents' home in Brussels. He had no money - many of the wasp-waisted frocks and bustle skirts were fashioned from the antique linen and monogrammed napkins he'd pilfered from his grandmother's farmhouse in Normandy. Yet the resulting clothes were anything but thrown together.
Theyskens's first collection - which he launched six months later, in a self-funded runway show in a disintegrating chateau on the outskirts of Paris - was astoundingly assured. Fantastical and theatrical, as technically accomplished as it was creatively inspired, as daringly constructed as it was curiously wearable. The European fashion press adored it - even more so when they discovered the effete, whimsical, self-contained youth behind it. Theyskens came instantly to the attention of Madonna, who asked him to make her an outfit for Oscar night, thus cranking up his profile and giving him the leverage of influential celebrity marketing.
Was he surprised? Theyskens shrugs. 'I suppose I knew it would happen for me, but I expected it would take longer. I expected I would wait. For most names, it takes years. For me, it happened at once.'
Within two years, Theyskens had been made the 'name' behind Rochas. It would take him a few short seasons to entirely revitalise the label, transforming it from a fading memory into a major contender and a desperately desirable brand.
The Rochas/Theyskens collaboration wasn't an obvious venture for either party - an ageing, venerable, languishing label soliciting help from the hip, hot young Belgian boy on the block. And, though there was a natural affiliation between the two (the Chantilly lace, the femininity), Rochas didn't resonate with Theyskens at the time. 'I know this name, but I know it for perfume, not for fashion.' He went for it though, because, he says, 'It was very Paris to me, and I love this town, I understand this town.
I want to give fashion this Parisian elegance, this romance.'
He's currently in the throes of developing Rochas's accessories range, the handbags and shoes that will coin big Euros for the company, and assure both its and his future.
While he does take himself rather seriously, Theyskens is in possession of a sense of humour, a sunniness. He's clearly happy with the way things are going, pleased to be fulfilling his own destiny in such an obvious manner. He always knew he would make clothes: 'Always! Even as a very young child. I always knew where I was going, I would tell my teachers this.' He was, however, equally concerned with the accident of his gender.
'I think I am a girl! I think, "sh*t! What is this?" I am absolutely so sad to be a boy. To be a boy, this is wrong. And I read everything about a sex change when I am six years old. I think, "I will do this!" But then my shoulders grow, and so I change my mind. Because with these shoulders ...' He shrugs the offending appendages, which are, admittedly, oddly broad on his otherwise tiny frame. 'With these shoulders, I cannot be a beautiful girl. And I think, "If I cannot be a beautiful girl, there is no point."'
It's maybe because of this ingrained empathy that his collections are so pretty; designed to accommodate curves, and to flatter. Theyskens rails against the fashion industry's inclination towards misogyny. 'I love woman.
I love the body. But I see these other designs, these other clothes [he gestures dismissively at invisible racks of clothes created by people other than him] and they are so vulgar, and I think, "This is not loving women." With the fur and the big glasses! To make them look so vulgar, this is not loving women!'
In an equally unfashiony manner, Theyskens can be a realist about his art. 'An artist, he doesn't have to present a new show on schedule every six month. A designer does. But you don't necessarily have a new inspiration every time. So sometimes if I finish a collection and I think it is not so good, I think, "This is OK, because the next one will be."' Such pragmatism is pretty impressive in someone so young, and whose ascent has been so dizzying.
^^^from The Guardian[/font]
helena
Swim Upstream
- Joined
- Apr 14, 2004
- Messages
- 6,429
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- 10
Fashion
Rochas and roll
[font=arial,helvetica,sans-serif]He's 26, hip, hot and Belgian. It's 79, staid, stiff and French. But when Olivier Theyskens took up the creative reins at Rochas, it was a marriage made in fashion heaven. Polly Vernon meets the mercurial designer in his Paris atelier[/font]
[font=Geneva,Arial,sans-serif]Sunday October 9, 2005
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Seven years ago, when Belgian designer Olivier Theyskens was just 19, he dropped out of fashion college and knocked up some 60 whole outfits on the floor of his bedroom in his parents' home in Brussels. He had no money - many of the wasp-waisted frocks and bustle skirts were fashioned from the antique linen and monogrammed napkins he'd pilfered from his grandmother's farmhouse in Normandy. Yet the resulting clothes were anything but thrown together.
Theyskens's first collection - which he launched six months later, in a self-funded runway show in a disintegrating chateau on the outskirts of Paris - was astoundingly assured. Fantastical and theatrical, as technically accomplished as it was creatively inspired, as daringly constructed as it was curiously wearable. The European fashion press adored it - even more so when they discovered the effete, whimsical, self-contained youth behind it. Theyskens came instantly to the attention of Madonna, who asked him to make her an outfit for Oscar night, thus cranking up his profile and giving him the leverage of influential celebrity marketing.
Was he surprised? Theyskens shrugs. 'I suppose I knew it would happen for me, but I expected it would take longer. I expected I would wait. For most names, it takes years. For me, it happened at once.'
Within two years, Theyskens had been made the 'name' behind Rochas. It would take him a few short seasons to entirely revitalise the label, transforming it from a fading memory into a major contender and a desperately desirable brand.
The Rochas/Theyskens collaboration wasn't an obvious venture for either party - an ageing, venerable, languishing label soliciting help from the hip, hot young Belgian boy on the block. And, though there was a natural affiliation between the two (the Chantilly lace, the femininity), Rochas didn't resonate with Theyskens at the time. 'I know this name, but I know it for perfume, not for fashion.' He went for it though, because, he says, 'It was very Paris to me, and I love this town, I understand this town.
I want to give fashion this Parisian elegance, this romance.'
He's currently in the throes of developing Rochas's accessories range, the handbags and shoes that will coin big Euros for the company, and assure both its and his future.
While he does take himself rather seriously, Theyskens is in possession of a sense of humour, a sunniness. He's clearly happy with the way things are going, pleased to be fulfilling his own destiny in such an obvious manner. He always knew he would make clothes: 'Always! Even as a very young child. I always knew where I was going, I would tell my teachers this.' He was, however, equally concerned with the accident of his gender.
'I think I am a girl! I think, "sh*t! What is this?" I am absolutely so sad to be a boy. To be a boy, this is wrong. And I read everything about a sex change when I am six years old. I think, "I will do this!" But then my shoulders grow, and so I change my mind. Because with these shoulders ...' He shrugs the offending appendages, which are, admittedly, oddly broad on his otherwise tiny frame. 'With these shoulders, I cannot be a beautiful girl. And I think, "If I cannot be a beautiful girl, there is no point."'
It's maybe because of this ingrained empathy that his collections are so pretty; designed to accommodate curves, and to flatter. Theyskens rails against the fashion industry's inclination towards misogyny. 'I love woman.
I love the body. But I see these other designs, these other clothes [he gestures dismissively at invisible racks of clothes created by people other than him] and they are so vulgar, and I think, "This is not loving women." With the fur and the big glasses! To make them look so vulgar, this is not loving women!'
In an equally unfashiony manner, Theyskens can be a realist about his art. 'An artist, he doesn't have to present a new show on schedule every six month. A designer does. But you don't necessarily have a new inspiration every time. So sometimes if I finish a collection and I think it is not so good, I think, "This is OK, because the next one will be."' Such pragmatism is pretty impressive in someone so young, and whose ascent has been so dizzying.
^^^from The Guardian[/font]
Rochas and roll
[font=arial,helvetica,sans-serif]He's 26, hip, hot and Belgian. It's 79, staid, stiff and French. But when Olivier Theyskens took up the creative reins at Rochas, it was a marriage made in fashion heaven. Polly Vernon meets the mercurial designer in his Paris atelier[/font]
[font=Geneva,Arial,sans-serif]Sunday October 9, 2005
The Observer
[/font]
[font=Geneva,Arial,sans-serif]Seven years ago, when Belgian designer Olivier Theyskens was just 19, he dropped out of fashion college and knocked up some 60 whole outfits on the floor of his bedroom in his parents' home in Brussels. He had no money - many of the wasp-waisted frocks and bustle skirts were fashioned from the antique linen and monogrammed napkins he'd pilfered from his grandmother's farmhouse in Normandy. Yet the resulting clothes were anything but thrown together.
Theyskens's first collection - which he launched six months later, in a self-funded runway show in a disintegrating chateau on the outskirts of Paris - was astoundingly assured. Fantastical and theatrical, as technically accomplished as it was creatively inspired, as daringly constructed as it was curiously wearable. The European fashion press adored it - even more so when they discovered the effete, whimsical, self-contained youth behind it. Theyskens came instantly to the attention of Madonna, who asked him to make her an outfit for Oscar night, thus cranking up his profile and giving him the leverage of influential celebrity marketing.
Was he surprised? Theyskens shrugs. 'I suppose I knew it would happen for me, but I expected it would take longer. I expected I would wait. For most names, it takes years. For me, it happened at once.'
Within two years, Theyskens had been made the 'name' behind Rochas. It would take him a few short seasons to entirely revitalise the label, transforming it from a fading memory into a major contender and a desperately desirable brand.
The Rochas/Theyskens collaboration wasn't an obvious venture for either party - an ageing, venerable, languishing label soliciting help from the hip, hot young Belgian boy on the block. And, though there was a natural affiliation between the two (the Chantilly lace, the femininity), Rochas didn't resonate with Theyskens at the time. 'I know this name, but I know it for perfume, not for fashion.' He went for it though, because, he says, 'It was very Paris to me, and I love this town, I understand this town.
I want to give fashion this Parisian elegance, this romance.'
He's currently in the throes of developing Rochas's accessories range, the handbags and shoes that will coin big Euros for the company, and assure both its and his future.
While he does take himself rather seriously, Theyskens is in possession of a sense of humour, a sunniness. He's clearly happy with the way things are going, pleased to be fulfilling his own destiny in such an obvious manner. He always knew he would make clothes: 'Always! Even as a very young child. I always knew where I was going, I would tell my teachers this.' He was, however, equally concerned with the accident of his gender.
'I think I am a girl! I think, "sh*t! What is this?" I am absolutely so sad to be a boy. To be a boy, this is wrong. And I read everything about a sex change when I am six years old. I think, "I will do this!" But then my shoulders grow, and so I change my mind. Because with these shoulders ...' He shrugs the offending appendages, which are, admittedly, oddly broad on his otherwise tiny frame. 'With these shoulders, I cannot be a beautiful girl. And I think, "If I cannot be a beautiful girl, there is no point."'
It's maybe because of this ingrained empathy that his collections are so pretty; designed to accommodate curves, and to flatter. Theyskens rails against the fashion industry's inclination towards misogyny. 'I love woman.
I love the body. But I see these other designs, these other clothes [he gestures dismissively at invisible racks of clothes created by people other than him] and they are so vulgar, and I think, "This is not loving women." With the fur and the big glasses! To make them look so vulgar, this is not loving women!'
In an equally unfashiony manner, Theyskens can be a realist about his art. 'An artist, he doesn't have to present a new show on schedule every six month. A designer does. But you don't necessarily have a new inspiration every time. So sometimes if I finish a collection and I think it is not so good, I think, "This is OK, because the next one will be."' Such pragmatism is pretty impressive in someone so young, and whose ascent has been so dizzying.
^^^from The Guardian[/font]
