The designer, for his PILGRIM’S PROGRESS part, is focusing his gaze on Rochas-Madonna in a peak-shoulder on new accessories (shoes for spring), Olivier Theyskens at the new stores (a redesigned Pans bou-Golden Globes, 1998 (above); tique in 2004), and new perfumes. Theyskens royal-blue ball From a staff of one at Theyskens, he gown, Vogue, 2000 (left). now oversees more than 500. And then there’s the matter of the strange premises in which he now works: The Rochas headquarters has not been renovated for decades. The basement/boardroom suite, for example, houses a bar that, in its dedication to the groovy seventies, lacks only the presence of Lee Majors quaffing a screwdriver. Clearly, a bionic effort will be required.
And the results, when he’s done, will say not Theyskens but Rochas. From the fall 2003 show, the designer edited out any looks that were, in his words, “too Theyskens”: a humpback-trench, for example, or a savage fur bolero. In the future, there will be time to relaunch his own name and to make clothes that are “completely instinctive.”