Olivier Theyskens delved deep into Azzaro’s fashion archives during a visit in January to Paris’ Palais Galliera museum.
“They have some of the key pieces from the great eras, some of the designs he did for famous singers: dresses in sequins, with very strong designs, at the end of the ’60s and ’70s,” said Theyskens, referring to Loris Azzaro and his “iconoclastic” couture approach at the time.
Then, designers tried out new techniques and materials for more glam than Baroque results.
“You could move, it didn’t look too precious,” said Theyskens. “I think this modernity is timeless, because the way they were dressing women up was with a simplicity that still resonates today, makes women look good — and is fun.”
The same could be said for Theyskens’ couture collection for fall. He took Azzaro’s codes, like its signature three rings, and styles, and made them more his own.
“For the collection I wanted something a bit more nocturnal,” explained Theyskens of the lineup, which was primarily in black, with some silver and white, full of embroideries and other ornamentation.
He decorated a dress with purple beaded chains, along its deep side slit. A minidress with a plunging neckline seemed made of liquid silver fabric. There was lots of shine and sparkle here — even an androgynous suit had crystal sequins.
Geometric shapes and asymmetries abounded, as did the melding of tailored and soft silhouettes. A button-down shirt came paired with oversized silver-colored shirts, for a more relaxed look.
