Shortly before the first model stepped out at Rick Owens, suds started trickling down the tilted glass backdrop. They slowly formed a cloudlike mass on the concrete floor, signaling an important clue: Owens, who has a proclivity for darkness, was channeling a lighter spirit. The result was nothing short of terrific.
The lineup had nuances of the secessionist art movement, from to the models’ graphically chopped hair to the silhouettes, some of which featured voluminous tops coming together below the waist over slim, floor-length skirts or dresses.
He set the mood from the first few looks, including several plasticlike materials, such as a cool transparent raincoat and a shimmering off-the-shoulder number that loosely read “shower curtain” (perfect for the suds).
More structured sleeveless jackets teamed with formfitting skirts underscored Owens’ turn-of-the-century sensibility — their graphic, architectural patterns demonstrating his artful yet light touch.
The soft color palette was just as lovely, ranging mostly from nudes to grays, with a few black looks. He even ventured into surface decoration — not a familiar area to him. This being Owens, there was no excessive beading and sequin work in sight. Instead, he maintained a subtle hand with tiny knots on a sleeveless leather jacket and a matte gold disk closure on a languid silver metallic coat and matching dress. It was both poetic and ultrafeminine — think a modern-day muse to Gustav Klimt. And just like the frothy concoction that had amassed on set by the show’s finale, the overall effect was heavenly.