Who knew that we would witness a seismic shift at a Rick Owens show where loyalty to his signature always trumps whatever is going on elsewhere. Weirdly, the vaguely 40s-60s haute couture silhouettes that has been referenced and cross-referenced in a lot of the other shows turned up here in unexpected form, and triumphantly is one of the most effective ways of mining the past that we have seen yet. That’s down to Owens’ signature. Cristobal Balenciaga-curves, American couturier Charles James-shoulder peaks and 60s cocoon capes and snoods could not have worked if it was just a retro-gazing and reproductive exercise. Instead, Owens’ own colour palette took hold, from black to white and the muddied shades of greige.
Fabrics were also key to emphasizing that this was undeniably a Rick Owens collection despite any reminders of the past that may have cropped up and the evocative combination between his signature and references contributed to the conclusion that what we were seeing felt vibrantly new. A puffer jacket with peaked shoulders echoing the curves of James’ work was one of the key pieces that stood out as the perfect past/future intersection. Owens’ diehard fanbase will of course be clamouring for all of this but he may also find himself fending off a new breed of clientele, one that may not have fallen into the typical Owens customer mould but is surely more than welcome.
Dazed Digital: How did you reference the past without being too literal?
Rick Owens: It was 60s indeed. I wanted to do something pure but I wanted to do something murky too. Murky but pure.
DD: What specific references were you looking to?
Rick Owens: Obviously Veruschka was there. There was Cristobal Balenciaga. There was Charles James. But I wanted to do it all in my own rough way - in my own Scotch-taped, California, Los Angeles, hard and cool way.