Quotes by: Olivier Theyskens
For a long time I have been thinking about affordable fashion - you can be disappointed when not so many people can wear your stuff.
Personally, I have had sometimes moments where I thought my idea behind the idea of a collection - the concept maybe - something that we don't see at the end on the catwalk, I think the way it was, the genesis in my mind, was probably artistic, an artistic approach.
Historical costumes from the 18th and 19th centuries look so complicated, but when you see the patterns, it's very systematic. I've always been impressed by how the patterns economize the fabric.
I rarely stay at home when I'm in New York. I'm always doing things. It brings you so much energy.
When other boys dreamt of going to the moon or becoming doctors, I wanted to be a designer.
When I was young, watching historical movies made me feel absolutely sublime. But the first few times I visited costume museums, I was really disappointed because it was not at the level I saw in movies. It was not the level of the image I'd imagined.
If you are a girl dressing up in the morning thinking about the whole world having a point of view on what you are wearing, it takes the pleasure out of getting dressed.
The only shoes that look futuristic are Crocs, but they would be terrible to use in a futuristic movie.
I think the relationship is very tenuous between fashion and art. Many designers have built relationships with artists, which is not something I personally did. But it's true, sometimes you see artists working for a designer or a brand on some specific project or taking care of their environment and making an amazing store.
I am interested in the idea of 'taste.' And by 'taste,' I mean opinion, inspiration and the craft of creating a personality through fabric and design.
What is sure is that the satellite view of our world and its evolution is now a common reality.
It's interesting for me because in my work, a lot of times, I like to scrutinize the clothes and think what's going to make them look dated, and I do the same with vintage. In vintage, you want something unique and different, but at the same time, something that doesn't make you look like you dress like a grandpa.
What is funny is when you do a futuristic movie, you immediately get to be fashionable because you're creating something that doesn't exist.
When I started at Ricci, I did street wear for very cool, young girls, but the price point was for the fourth floor of Bergdorf Goodman next to Carolina Herrera. My cool girls cannot afford it.
My mother loved fashion and always had a great aesthetic. But she also considered the cost of it, with the kids, that it wasn't something to allow herself.
Even during the golden age of fashion, you had haute couture houses where the designers didn't have money.
We always see the point of an iceberg. So I've always accepted the idea that people - they don't necessarily know everything I am.
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.