Theyskens' Theory S/S13: Boy Meets World

 Grunge for Spring/Summer? Hell yeah.

[All images via Style.com].

I am a little bit in love with Olivier Theyskens, even though he used to make demi-couture gowns that cost more than my combined university fees. There's something about his clothing that puts up two fingers to the doubters and makes you feel powerful (I assume - it's not like I have a secret stash of Theyskens' Theory in my room, though it would be a nice thought). Unlike the try-hard grunge look that seems distinctly pre-fabricated, this is genuine insouciance and you can tell that he's enjoyed crafting each piece, regardless of its reception. 

The top and trousers in the centre remind me mostly of grass stains, as if the wearer had spent long enough rolling down hills and scuffing her clothes to inadvertently create a look. Meanwhile the sheath dress on the right could have been sewn from a satin nightdress with a black voile thrown over the top in a last-ditch attempt to look presentable after a night on the tiles. Turning to the evening gown on the left, you can see it's made for putting your hands on your hips and into those pockets - not for being a wallflower.

 For those times when you feel a little bit different and don't want to chuck on jeans.

There was definitely an element of second glances in this collection, most notably in the ever-so-sheer demure-looking dress that flashes bright white underwear beneath this season's peplum. Similarly, but with less potential to offend the elderly, the blue house coat in the centre seems quite girly with its A-line shape, yet a closer look reveals that it's actually more like an oilskin men's jacket, but given an unusual cut, then thrown over a leather dress to give a mash-up of textures. Lastly, the beautifully sculptural maxi dress on the right is toughened up by embellishment and that stern pout from the model - you get the feeling she might have a knuckleduster on.

 Don't just go for the 'boyfriend' look as a phase - take that old jumper or suit jacket and wear it to death.

Boyish went for more of a grandad edge with chunky charcoal jumpers, elegantly cut jackets that verged on the masculine, and some deep v-necks that revealed gaping chests rather than ample cleavage. Those shiny black trousers on the left are perhaps a hard act to follow on the high street, with potential echoes of MC Hammer, but you can bet that fashion industry insiders will be clamouring to be shot in them by the likes of Scott Schuman and Tommy Ton.

As a parting note, everything gets bleached as the grunge kids draw back the curtains.

I wanted to end with more of the pure white Theyskens' Theory pieces, as they're so dazzling and might initially seem to go against the grungy aesthetic of the rest. Again, on a double take they seem a little less innocent. That white suit with those serious black boots gives a hint of A Clockwork Orange, whilst the baggy coat and silvery hair makes an otherwise simple, if short, shift dress seem like the choice of a post-gig rock star. The soft thigh-skimming jacket on the right is also fairly indecently short, but there's barely a hint of anything underneath (look away, middle America!). 

I can't get enough of this collection; there's so much fun behind the separates and they'd all add something to your wardrobe. Olivier Theyskens is a constant source of inspiration for me and I get the feeling he'll be lining the pockets of a few of our high street stores when they get creating copycat designs. Not naming any names, but you might want to head to Zara, Mango and COS to try and replicate the great man on a more budget-friendly scale...

NYFW Fall 2012: Theyskens' Theory is Decidedly Mixed

[All  images taken from Style.com].

Let's cut to the chase: I'm going to start with the good bits, especially as I'm always so excited to see what Olivier Theyskens comes up with for Theory. His own personal style is a mixture of sleek, straight hair and baggy or draped clothing, and you'll often see this combination in his designs for women, though there is a lot more emphasis on the former. The stone dress above caught my eye because it seemed so historical, like a combination of Victorian feminine dressing and Little House on the Prairie frontier-style practicality.

Outfit #2 from my shortlist is a more traditional Theyskens approach, with a rock vibe seeping through in the dirty gold sequinned jacket, the slouch-fit trousers and the patterned charcoal t-shirt. This doesn't feel like the same target female as the stone dress; this woman is comfortable with adding a more masculine edge to her look, and she doesn't need everything to be neatly finished and tucked in.

I can totally see this dress being adopted on the red carpet. The unusual neckline means that the mainstream press will probably stick the unsuspecting celebrity in the 'Worst Dressed' category, but I don't feel the need. It's little details like this that freshen things up in fashion, and stop a plain dress being, well, plain.

My favourite look from the show was this simple but effective sharp jacket, that seems to mould its way around the body like armour, with a flimsy skirt that has the consistency of tissue paper. It's a really interesting contrast, with so much protection focused around the torso and the legs completely exposed.

Another piece that's sure to make it into fashion editorials and the wardrobes of celebrities is this ethereal off-white dress. The high neck and fishtail base make for an overly covered form, but the sheer layers look as fine as smoke in certain places. It's elegant and doesn't expose any flesh, but it still manages to be exciting and not as conservative as you might think.

This is the last of the stunning moments from the collection. It's another dazzling piece that is classy and daring at the same time, worn simply with loose hair and smoke grey heels. Look away now if you don't want to see what else Olivier Theyskens added to the mix, because it's going to be pretty frustrating.

I know that he's a master at tailoring and cutting around the female form, but this outfit is hardly groundbreaking. It reminds me of synthetic suits that you'd buy in bargain basements circa 2000-2005 - the ones that were well shaped but felt really strange and smelt a bit funny. I know that this version would set you back a ridiculous amount of money, but it just doesn't add enough interest. The shape you see here is only so exaggerated because of the model's thin figure, but on your average UK size 10-16 woman you would struggle to justify the price, because so much of the lengthening effect would be lost. Those flares would drown a girl, and the jacket would pull against an average UK bust. It doesn't work for me as an exciting or flattering look and I don't feel it's made for real women. I know that Ready to Wear isn't made for the high street, but it should be more realistic than Couture in terms of the modern woman's figure.

Another misguided attempt, the cream coat looks like something straight out of a Middleton sister's wardrobe. Meanwhile the gold pencil skirt and off-gold top are a little bit like a mid-life crisis moment, with a desperate attempt to draw attention to something, but it ends up being your ankles rather than anything remotely flirtatious (yep, the ankles were last seen as a scandalous body part pre-WWI).

Okay, enough of the designer-bashing. I want to end with a decent everyday piece that straddles the line between the beautiful event gowns and the cool slouchy trousers with a metallic tinge. Enter the burned olive playsuit (or shorts and shirt - I'll admit, it's very hard to tell from the catwalk image). This is the blend of hiding and revealing flesh, without the formality of a dress. It's the way that the rock goddess from my second image could have a meeting of minds with the prairie girl from the first shot. It's wearable, slightly flirtatious, and it's really flattering. This is what we need to see more of; attention to detail that can work for different body shapes, and not just one. We want to see intuitive design, not the reinvention of the wheel with a cream coat.

It will be interesting to see if my choices of the good and bad Theyskens' Theory pieces mirror that of the fashion editors and writers, or if I'm just not on the same wavelength and actually the Middleton sister look is the perfect way to appear edgy. In which case, all will really be lost. I stand by my selection, and I hope that Olivier Theyskens manages to hit the mark more often next season.