The designer was inspired by Larry Legaspi, the man behind Kiss and girl-group Labelle’s iconic 70s looks
Following on from Rick Owens’ incredible SS19 womenswear show, which took place in September and saw the designer poignantly set the Parisian sky ablaze, we’re back at the city’s Palais De Tokyo to see what he has in store for us come AW19. Here’s everything you need to know.
THE RUNWAY WAS LIT BY HUGE SPOTLIGHTS
The show took place, as usual, at the Palais de Tokyo. With the rest of the space in near total darkness, the runway was illuminated by a 1940s Defence Anti Adrienne spotlight, which was initially used by the allies on the Normandy beaches during World War II. The show notes explained Owens had been intent on using an old-Hollywood style light but in the end opted for the DAA: “We might flatter ourselves that we are living through hard times, but things could be and have been way worse,” Owens (aka fashion’s voice of reason) explained.
THERE WAS NO SIGN OF TOMMY CASH THIS SEASON
...but as usual the soundtrack was banging. This time around, Owens opted for a cover of Abba’s “Gimme Gimme Gimme (A Man After Midnight)”, as performed by Swedish 80s goth rockers Swedish Nun and remixed by Fecal Matter.
THE COLLECTION WAS INSPIRED BY LARRY LEGASPI
...who also gave the AW19 menswear offering, Larry, its name. If you’re not familiar with him, Legaspi was the man responsible for the ‘black space sleaze looks’ that Kiss wore in the 70s, as well as the futuristic outfits worn by girl-group Labelle. “He introduced a camp ferocity to the mainstream and helped set a lot of kids like me free, with his Art Deco sexual ambiguity and raw, black leather bombast,” explained Owens. Alongside the collection, the designer has also been working on a book about Legaspi, which is set to be released in October. Clear a space on your shelf: this one is sure to spark joy.
...WHICH MEANT IT HAD PLENTY OF GLAM ROCK INFLUENCES
Kiss’s emblematic lightning bolt appeared on layered nylon vests of varying proportions, as worn with wide, flowing trousers crafted from bleached fuschia denim and panelled, skintight trousers. Sharp, wide-shouldered blazers, duvet-style ‘Middle America’ jackets trimmed with metallic silver accents, and shearling ‘vampire collar’ coats were paired with black, oily Japanese denim jeans and enormous platform boots, as Owens explained he was interested in the way the proportions made the body look stretched out. “In an era of squeamish conservatism and easy outrage, we could use a bit of flamboyance.”
THE FOOTWEAR DID BOTH
As well as the chunky platform boots and sandals (both of which had some serious height on them) there was also a new collaboration with vegan footwear label Veja, which worked with Owens on a series of slightly more comfortable sneakers. Other accessories included red and yellow shield sunglasses, and a new style which Owens knocked off from his cheap, gift store-bought snowboarding glasses which he loved so much he had fitted with his reading prescription. Owens is apparently but a mere mortal like the rest of us – who knew?