Rick Owens. Spring 2020 RTW - Paris Fashion Week

(Images from the designer and the public domain. Credited to the 

photographer/company where applicable: Gorunway.com and WWD )

Rick Owens is an expert at layering, obviously seen in his clothing designs over the years, but more so as a way of sourcing from an impressive backlog, refining the ideas created from his career to date.  Pushing it forward into a newer dynamic.  Which is actually a very unique trait for an artist and designer, in their ability to absorb and draw from within, setting down ones own benchmark of concepts.  This is a skill that cannot be taught, but learned.  Shown to be the quintessential avant garde designer and probably one of the last of the bigger independent fashion brand's, Owens have kept his branding unique whilst at the same time ambiguous.  Cleverly projected via an assortment of influences.  

For his Spring 2020 showing, he has continued on with the Larry LeGaspi (d2001) themes, as noted with my previous reviews, LeGaspi was the KISS costume designer and creative director to the band throughout the 1970s, including a return of his sci-fiction inspired flair to assist in the costumed designs for their 1981 'Creatures of the Night Tour', to which Owens has written and honored the late costume designer with a book titled: "LeGaspi: Larry LeGaspi, the 70s and the Future of Fashion" which was released early in September 2019.  So, the extravagance of Owens homage to LeGaspi continues, with Owens Ready-To-Wear collection setting its self into the variants of its dynamics, there is a slight political overture, as Owens is part Mexican, of the ongoing concerns that a divide between Mexico and America, will not just effect families on either side of the pending border Wall.  But also, as described by Owens commentary prior to the show, that open global borders, particularly in trade relations, assisted in his rise to fame in 2001.  As he was originally from Los Angeles, now based in Paris, France and his clothing made in Italy. 

Owens has shone a light, via his latest showing, towards his L.A. roots.  Which hold such an interesting aspect to his dropping out of the Otis Collage of Art and Design, then taking up a course in pattern cutting from the L.A. Trade technical College, from that point in the early 90's prior to forming his brand - the only work he was able to obtain was cutting pattens for illegal copies of designer clothing.  It was only in 1994 that Owens started his signature label, selling his styles as an exclusivity.  From these street beginnings, Owens has included the East L.A. 'lowriders' as guys he would hitch a ride with when he was younger, also an influence for this collection.  Hence the more mechanical accessories, necklaces, and the chromed metallic feel for his Spring arrays.  

The models paraded, once again around Owens imprinted Paris backdrop; the Palais de Tokyo as though they represented fixtures of Aztec goddesses, airbrushed onto some of these 1950s and 1960s convertible 'lowriders' cars.  Costume inspired designs, highlighting the more ceremonial of Owens's stylizations.  Seen before in previous seasons, there is a lean towards the spiritual or at least a secular take on it, infused with the extravagance of its enclothe theme.  He has also maintained the stripped down plays, so there is a sexiness portrayed.  Intermixed with its flowing and open presentation. 

For the start of the collection there is the thigh high splits, low dropped V necks, so there is a lot of cleavage on show as opposed to the gown like styles viewed towards the tail end of the styles on show.  The oracle inspired pagan ensembles, as mention, are shinning through which is very cool.  Owens is also a master of the achromatic black, able to know its base and how to set colors against it; such as yellows, pinks, dulled browns and grays as a reference. Also noted are the metallic glitter and gleam of some of the skirts and coats.