Rick Owens’ Spring/Summer 2018 collection has left many perplexed. Owens understood the presentation would not sit well with many, given the collection’s puzzling message and the threat of being rained on.
The premiere took place in the outside courtyard of the Palais de Tokyo in Paris. The audience, photographers, and models alike braved the dreary forecast for the event. The Palais de Tokyo is a building dedicated to modern and contemporary art, mostly in forms of Art Deco. It’s a fitting atmosphere for Owens’ collection debut, accompanied by a fog machine and a fountain display. Many advancing designers will revive society’s political views on equality and global affairs through the forms of rebellious fashion art.
Although the premiere was successful and orderly, the message portrayed was decidedly the opposite. Opinions, art, and expression should be unrestricted. Owens presented his collection with that in mind. He was simply blasé as he expressed his views on rejection and global affairs.
“I have romanticized discomfort as much as I can,” Owens said backstage. He explained further, “I feel I need to propose experimental grace and form as a gesture of turning away from threat. Not really as escapism, but as rejection.”
Owens admits the matter of our planet worries him, and the idea that a creative designer is willing to consider his resources, outside of social norms, is both important and necessary for creation.
The “uniforms” displayed projected a very “refugee” experience, considering the matter is both sensitive and perhaps even premature in such a time as this. The collection was certainly a stern message to the viewers to be aware of reality, accept social responsibility and express compassion. It also demonstrates hope. The show featured the trend we assumed the future would look like: radical and revolutionary.
The atmosphere exhibited a very “new world order” of women—a systematic, “Greek empire” forefeeling. You couldn’t help but feel something was going to happen. The only colors to be seen are a fern and army green, both suitable for the occasion. Primeval structure of the garments was hard-edged with harsh shreds, bloated pouch-bags, and geometrical and architectural influences to perhaps convey a rigid presence in forcible feminism. Owens later changes the mood of the presentation towards the conclusion, to an unanticipated tone with paradoxical pieces that changed the vibe completely. Owens concedes with, “They look like meringues to me.”
Gallery Images via Vogue/ Kim Weston Arnold / Indigital.tv
Feature Image via Numero/Mehdi Mendas