First, if you’ve outgrown your venue, move on. Otherwise, there’s no excuse for double-booking seat upon seat, which, by the way, those displaced from the first row to standing handled with a rather good-natured attitude. That said, the seating situation goes to show where Rick Owens ranks in the fashion crowd, which now lines up to see what he’s doing.


This season, it was a light, aerodynamic take on Owens’ typically dark vision. That’s not to say the designer has lost his edge — it was there, quite literally, in the sharp angles that shot up from the shoulders of a trench, across the front of a cropped jacket, or came molded into weird sculptural collars.


As usual, there was a fair amount of black, now broken up by plenty of white, misty gray and khaki. Fabrics were light; they flew away from the body on sleeveless jackets and floated around it on pretty parachute dresses. And despite a layered look — new asymmetrical versions of the classic Hanes tank worn with swaddling shorts and angular aprons — the silhouette felt savvily pared down. If things got repetitive and the cummerbund effects and sheer strips of fabric that trailed between the models’ legs were less interesting than intended, for the most part, the collection was another example of Owens flying high.

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