IN CONVERSATION WITH SHAYNE OLIVER
Photography by Spyros Rennt
Interview by Sina Braetz
“For me, I don’t really have that feeling anymore. I really want to begin to do things that are way more universal.” Shayne Oliver explains to me in the crowded, sweaty backstage room at Berlin’s event venue, Tempodrom. Surrounded by a circle of journalists next to Ye, who has spontaneously showed up as well, Oliver patiently answers questions.
The mastermind seems calm and focused, albeit a little tired. He is wearing a white tee with a diamond Telfar and cross necklace. His right shoulder has caught some stains that he sometimes tries to hide, but when I ask him if we could film, he stops caring. While I try to run through my questions as fast as possible, I can’t stop noticing how balanced Oliver appears despite all the hype and chaos that surrounds us.
Does he know what a win he is for Berlin? Probably.
The loss for New York, though, was almost predictable. It just happened at the right time. The “Mall of America” was yesterday; we now have arrived at the “Mall of Anonymous” and are more than ready for it. World upside down – just as his surreal silhouettes and new take on American sportswear icons suggest. His new SS25 collection ‘FREUDIAN GLITCH: FANTASIA 2024’ comments on distorted truths and dissonant ideals. Looking at some of his almost aggressively disturbing silhouettes, one can almost feel the pain that comes with facing uncomfortable truth.
This is what Oliver seems to want us to do, but he doesn’t care too much about excessively talking about any societal, political, or religious references he was drawing. Just like everyone sees the truth that one wants to see. Arriving at the show venue couldn’t feel more Berlin: As part of INTERVENTION II by Reference Studios, the show is happening at the Tempodrom this time. Infront, a huge crowd is either waiting to get in or hanging out to spot some familiar faces. I am not really ready for rave energy but more than ready to see Shayne’s second Berlin show – after I missed his outstanding first one already. In the vast, dim-lit hall, a bunch of people are already patiently sitting down – a little help for a nightmare-seating situation.
It isn’t easy to understand the energy, nor am I really sure what I am feeling, which perfectly speaks for Shayne’s success in creating an environment of contrasts: being so close together but at the same time being distant, a constellation that refers to Freud’s psychoanalytic theories, playing with daydreams and nightmares, uncovering submerged truths beneath our conscious experiences, as he explains backstage after the show. After Ye’s touchdown, the show finally starts with an amazing orchestral soundtrack that – against main expectations – doesn’t really suggest an arena culture vibe, instead filled the vast space with chirping birds.
…and you bring your people here anyways.
Yeah, exactly. It’s been amazing that I can work with the people that I love a lot so I get to see the people that I’m very close with while being able to produce a fashion show, you know?!
Beautiful. So a lot of things changed for you, also as it seems the topics you focus on. Sex has been a big one for you when you started out, before and also during your HBA times. How do you feel that has evolved within the years? What is its role in your work today?
I mean for this collection, I wasn’t really thinking about it. I really wanted to bring back less of this instinctual feeling to anything and begin to work within larger ideas that affect people in a much broader way. I think that when things are, let’s say, sensual, they are very one on-one, like this idea of having a relationship with someone in front of other people and in a very exhibitionist context. So for me, I don’t really have that feeling anymore. I really want to begin to do things that are way more universal.