A Quote by Olivier Theyskens

With couture, you feel obligated to design something modern each season, but with Theyskens Theory, I don't question anything. I'm thinking of what I'd like to wear. — © Olivier Theyskens
With couture, you feel obligated to design something modern each season, but with Theyskens Theory, I don't question anything. I'm thinking of what I'd like to wear.
Couture is emotion. Couture is freedom. Couture is not thinking about pricing and not thinking about craziness. You can do whatever you want to do in couture.
Everything I have is ready to wear, but I have the ability to have different options within the same brand. I have the Theyskens' Theory collection where it's a personal approach to how I build the collection where I fuse more fashion-y ideas and it has my name on it. So it's really something very research- and labor-intensive. And then I have the Theory brand where I infuse all points of view about fashion at large, and it's more global. It's really about making something succeed. You have an instant relationship with stores, and with sales teams, and people that are in the place.
With couture, the great thing is that each piece has its own character, and you have space to explore and continue themes season after season.
The question is: exactly how did life get here? Was it by natural selection and random mutation or was it by something else? Everybody - even Richard Dawkins - sees design in biology. You see this design when you see co-ordinated parts coming together to perform a function - like in a hand. And so it's the appearance of design that everybody's trying to explain. So that if Darwin's theory doesn't explain it we're left with no other explanation than maybe it really was designed. That's essentially the design argument.
When you have this long of a run [in The Big Bang Theory], you don't have to have something happen every episode. Like, Sheldon lost his virginity last season and in the first season he didn't even like girls. So I feel like you can earn that stuff. And that is really fun, because you get to find new layers. It's a testament to the writing.
Each season I strive to design a forward-thinking and effortless collection with a very clean minimalist aesthetic.
I am very happy to design haute couture. It's a love story between couture and me.
The big difference between couture and ready-to-wear is not design. It is the fabrics, the handwork, and the fittings. The act of creation is the same.
Couture has a power that ready-to-wear can never have; the attention of les petites mains as they sew; all that love and belief goes into the cloth. That's what you feel when you wear it.
I call my design style rustically modern. I like to take traditional or rustic features and fuse it into a more modern design.
I feel like everything I wear is a favorite thing. I wouldn't wear something if I didn't love it, and I wouldn't just wear something because someone put me in it.
For me, haute couture is a necessity. I never would have done this job were it not for haute couture. It is a comfort, a security. I almost feel it is our duty to continue. Haute couture is France. We have to keep all the skills and craftmanship alive.
Until I have a season where I do feel like I'm the best, I don't think I'm really going to be satisfied with it. And even when I do have a season where I feel like I'm the best, I'm sure I'll find something that I'm unsatisfied with it. That's kind of how I am.
Can you design a Rorschach test that's going to make everyone feel something every time - and that looks like a Rorschach test? It's easy to show a picture of a kitten or a car accident. The question is, how abstract can you get and still get the audience to feel something when they don't know what's happening to them?
I don't feel I'm very present in each moment. I feel like every moment I'm either thinking about something that's coming down the road or something that's been in the past.
There are people who, if they see something in couture that they perceive as ready-to-wear, they're in shock.
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