Olivier Theyskens and Theory: Q & A for New York Times

By ERIC WILSON



After introducing his first capsule collection for Theory in September, the designer Olivier Theyskens broadened his relationship with the contemporary sportswear powerhouse this week by signing on as its artistic director. In his new role, Mr. Theyskens, formerly the designer of the luxury labels Rochas and Nina Ricci, will oversee the design of men's, women's and accessories collections that now have sales of more than $500 million annually. (Istvan Francer, who was the design director of the women's Theory collection, is expected to move to another role within Theory's parent company, Fast Retailing.)
The clothes, under the label Theyskens' Theory, reflect Mr. Theyskens's signature drainpipe style, but also look like Theory's urban wardrobe.

While there has been much speculation about Mr. Theyskens's future since his departure from Nina Ricci, few would have guessed that he would end up in a full-time job at Theory. But in a Q&A on Wednesday, Andrew Rosen, the co-chief executive officer of the label, and Mr. Theyskens said the designer's collaboration turned out to be a natural fit.
What was the reasoning behind expanding Olivier's role here?
Mr. Rosen: When we started, we thought there was a lot of potential to grow and develop our relationship, but Olivier didn't know anything about me or the company, and I didn't know anything about him or the way he works. It worked out really well, so we decided Olivier should handle all of the creative direction of Theory. I think Olivier has a perspective with his experience to do so much more for our company. The world evolves, and fashion evolves, and I think it's important for our company to evolve.
Mr. Theyskens: Of course, I found it to be a great experience. The way the clothes are done here is the way I consider clothes have got to be done -- in the proper way. Also, above all, there is a very positive spirit that exists in this company. This first experience of making Theyskens' Theory [the capsule collection] was very interesting because it was making a whole new product using the energy that was already in place. Basically, everybody got involved, adding to their usual work. The experience was really striking.
Mr. Rosen: We sort of do things the old-fashioned way in that we have a big technical studio here with all the pattern-making, all the sample-making, all the fittings. Everything is done in our studio over on 13th Street.
Mr. Theyskens: I've been used to working that way. People were asking me all the time, was it hard to adapt? But after two or three weeks, I realized I was working the same way. You have an overview of the whole process, and you are in constant contact with all of the people in production.
How large is your design studio?
Mr. Rosen: There are probably 100 people there working on the whole technical aspect of the product. When Olivier started in June, the collection was done in two and a half months.
What was the retail reaction?
Mr. Rosen: It ended up in around 225 stores around the world. The support from the retail community was amazing. I think a lot of what Olivier is doing here is breaking new ground in the contemporary marketplace with the mixing of Olivier's European and high-design background in a more democratic process.
Who is the contemporary customer now?
Mr. Rosen: To me, the contemporary marketplace serves designer customers and aspirational customers at the same time. It is clothes for their everyday life. They are not occasion-oriented or so precious as designer clothes. What has happened is that the contemporary market keeps stepping up its game when you look at the number of new players and the creativity. Looking back to the 1980s, at Donna Karan, first with Anne Klein II, then with DKNY -- at the time that was the contemporary marketplace. Over the years, a lot of those lines have grown old with their customers and moved on into bridge. My philosophy is that a company should never grow old with the customer. It should stay in the same playing field, but it's very hard without change to keep the company evolving forward.
Olivier, did you ever see yourself as a designer of everyday clothes?
Mr. Theyskens: I see everything becoming so global. When I started working on this collection, I thought about what kind of clothes I would like to have in my wardrobe if I were a cool girl. In Theyskens' Theory, there is a large possibility for bringing ideas and new designs, and probably it is more like a laboratory. But in the main Theory collection you are working more on what people wear every day. It is an amazing opportunity to think about everyday life. It is not something expected from an edgy designer, but to me it is interesting.
Has moving to New York changed your outlook as a designer?

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