After a few seasons of audience-free, how to return to the Paris runway? A modest, restrained presentation, or the usual bombast? The question was quickly answered! Rick Owens returned in splendour to his grand open air stomping ground at the Palais de Tokyo with the high priestess Michèle Lamy, Owens’s spouse, oracle-in-chief and eternal inspiration, to head the triumphal procession.
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“I spent the lockdown in a position of ferocious defiance”, said Owens. “And it seemed a little silly now to pull back on that and get all sensitive. But we have to be a little responsible, don’t we? So I’m trying to be both”. Hence the duality of the collection, playing with different textures layering in each look. There were, of course, Owens hallmarks including sculptural, cocoon-like knitwear and lots of black leather. But the designer also showed some surprisingly soft, elegant dresses. Filmy gazar capes drifted from shoulders like cigarette smoke, while chiffon bomber jackets in gorgeous dégradés echoed the cloud-like shapes spewing from the fog machines. Sexy gowns that wouldn’t look out of place on the red carpet.
Other highlights: multicolored mohair spiderweb knits covering the body in dripping layers of removable arms and hoods; a jacket-cape hybrid dip-dyed in gold; armor-like boots that buckled up the thigh. The accessories were what truly showed the genius of Owens, with chokers made by the jewelry house Goosens, the Maison that once produced jewelry for Coco Chanel, Cristóbal Balenciaga, and Madame Grès in the 1950s.
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