You never would have expected razzle dazzle at Rick Owens but in front of the Tour Eiffel in the beautiful Palais Chaillot (a new venue for Owens this season), perhaps the designer felt like he was in a more decorative mood. So alongside his tribal-inspired plays with volume and body cocooning and in the type of draping language that Owens has created, we get shine and shimmer in the form of bronzed fabrics and Owens' version of 'sequins', which are actually triangular plates made out of horn that are lined up in a geometric pattern. The luxurious elements continues in the fur pieces that like the rest of the collection, fuse embellishment with Owen's raw sensibility.
Dazed Digital: It felt as though you were being a lot more playful and expansive with this collection - what was the starting point for that?
Rick Owens: It was actually the fear of being late because we had such a short time between the men's and women's collections so I started earlier thinking that we wouldn't have time for the women's collection and we actually ended up with more stuff than usual. It was great because I was in the mood for a little bit of opulence and I was in the mood for a celebration. So I decided to do sequins and I've been trying to find a new way to do them; we had sequins cut out of horn and I'm very happy with the way it came out.
DD: There was a kind of animalistic, slightly tribal vibe to it all to.
Rick Owens: There usually is. I like blending the futuristic with the primal. I love using furs in a very simple, primitive way. I like doing that huge spectrum, from the ancient, ancient past to the future!
DD: Were there any other visual references that you were drawing from?
Rick Owens: Not really. I do think of Ancient Rome and Ancient Greece, the birthplace of civilisation but that's always my reference in my collections.
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