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Rick Owens

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BLACK LIGHT

A lighter shade of darkness uplifted Rick Owens for spring. In addition to his murky blacks and greys, Owens also included optic white and tan, as well as sumptuous metallics. Silhouettes lightened up as well. In a brilliant dichotomy, Owens mixed stiff, origami-folded pieces with billowy shapes — the two elements sometimes coming together on the same garment, as in tough little jackets with crinkled drapery floating down the back. The first passage of looks included flat loincloth-like panels of fabric the drifted around and through the models’ legs. Angular motorcycle jackets came in leather or papery cotton and were paired with simple shorts. Chiffon strips were fashioned into soft spikes for what looked like a giant tuft of feathers, ornamenting a simple knee-length coat. A pale leather vest with satin insets was worn with shorts whose pleats angled toward the hem; a tiny leather cutaway had Owen’s signature high-armhole knit-inset sleeves, and a satin collar that whipped around the back and came down into a point on one side. Throughout, Owens’ must-have sheer knits were layered beneath, like fine-ribbed tees in one-shoulder styles. Toward the finale, three metallic parachute-like dresses — the first of which came in silver — wafted out, indicating a new play on volume for this innovative and influential designer.

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