Walking into Olivier Theyskens’s new studio in the 10th arrondissement is like stepping back in time, with a mosaic tile floor and silk wallpaper dating to the late 1800s. Hugging the ceiling is a border; in a font with an Art Nouveau flourish are the words à chacun selon ses oeuvres, which translates to “to each according to their work.” That seems fitting.
Twenty years ago Theyskens was a rising star who had captured the fashion world’s (and Madonna’s) attention. A couple of creative directorships later, he’s quietly, determinedly rebuilding his brand. He doesn’t receive the same kind of consideration, partly because he’s swapped the sweeping gowns of his past for a more grounded sensibility, but he’s doing distinctive work that feels connected to his early oeuvre without glancing back. He has his own vocabulary.
Having established traditional hook and eyes as a visual motif, this season Theyksens went in big for chrome hardware. Bias-cut swaths of silk are suspended from a single substantial hook below the neck; the resulting dress is a sexy wisp of a thing. Elsewhere, oversize hook and eyes fasten corsets with unique scoop necklines.
There’s an erotic undercurrent to the new collection, but it’s commanding, not weak or submissive. Take, for example, the tailored jackets he cut with bras built into the lapels. They’re designed to be worn shirtless, but the bra could also be worn undone over a blouse or tee. “Then it just looks like she’s wearing a vest underneath,” he explained. It was a clever touch. Theyskens makes a kick-ass combat boot as well.
