From the Chiasmus archive: January 20th 2017 "Rick Owens Men’s Fall 2017 – Paris Fashion Week"

 

Despite the obvious trends emerging, which started with the Pre-Fall 2017 editorials, namely tartan, early 80s punk styles.  There is no doubt that Rick Owens assigns his own trends and influences prior to a season exposé.  An extremely talented designer, who sets a benchmark rather than following an emerging trend.  For a designer or artist to be their own influence and inspiration shows a discipline and mastery.  This in turn comes from experience and the many years that entails in building your ideas.

The apparent name for his Men’s Fall 2017 show was titled “Glitter”.  A tribute to a time in history, that was just as tumultuous, but at the same time an innovative and creative period in modern history.  Owens retrospection with his Fall 2017 collection relates to the early 1970s ala Glam and disco.  A developing style which falls under Owens distinct creations, in which I picked up on with his Paris (Men’s) Spring Summer 2017 show in June 2016.  My review is as follows.  “Extraordinary original styling via Rick Owens.  It’s Studio 54, David Bowie and the spectra of death.”  An overview that I felt had to be concise, yet descriptive, as a single sentence.

In reviewing Rick Owens new collection for Paris Fashion week Fall 2017 my attention was drawn to paradoxical title for the show (Glitter).  Noting his prior 1970s influences, however with this Fall collection there is more of a rawness forming within his creations.  The neutrality of its tones, with no reflection, no mirrored 1970s vanity as once again Owens has used the Palais de Tokyo architecture.  With its spiraling staircase that leads down into it’s concrete bunker, an expansive tomb.  Entering into Owens world.  It feels bleak, the safe appeal of the subterranean with it’s concrete and steel.  Models are adorned with oversize clothing, thick, layered.  A patch work of stylized protection from the indifference of nature and, at times, humanities brutality against itself.   To me, despite drawing from periods of history for influence.  This collection represents a future within the now.  A dystopian construct that exists all around us.  Prefabrication is only the facade, beneath in it’s broken and unsure foundation is an evolving beautification.  A new construct is forming.

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(A.Glass 2017)

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Fall 2025 review soon.