Although it’s been a while ago, Andreas Murkudis hosted a temporary pop-up store feauturing Rick Owens and Michele Lamy‘s furniture line. I wanted to see those designs for such a long time, and it was worth the wait. There’s something truly incredible in their raw beauty. When Lamy and Owens first started out making furniture, it was purpose-built; their marital bed was the first thing that they created, long before they thought that their work might evolve into the sort of thing to be exhibited at global art galleries, because “we don’t buy; we do,” as Michele told Another Magazine back in 2017. “We have always been this way, always building spaces; small or big. Rick with his studio, me with Les Deux Cafés…” Formed from basalt and petrified wood, crystal and oxbone and alabaster, such objects might easily appear sterile, but they are instead imbued with resounding warmth. “Part of the romance invested in the furniture is the look on the faces of the guys who work on it when she sweeps into their studios in the jewellery, furs and smoke – her love for them and their love for her is a big part of every piece,” writes Owens in their book dedicated to their furniture. Most beautiful things are made with love.
Photos by Edward Kanarecki and Owenscorp.
Designers seem to reconsider glamour this season in subverted, new ways. While this term seems to be far, far from Rick Owens‘ well-known aesthetic, the designer took a try with it and what came out is the brilliant autumn-winter 2019 collection. Who else can pull off a reference crossover of such names as Charles James (the only American couturier), Larry LeGaspi (the person who designed costumes for Labelle, Kiss, Grace Jones, and Divine) and Mariano Fortuny (the Spanish-born, Italy-based designer who was famous for pleats and prints)? Only Rick. All of those people did glamour in their own, idiosyncratic way, and Owens was interested in doing garments that have a bit of each of them in the seems, cuts and drapes. Wait, but it’s never a Rick Owens collection without a bit of darkness. The designer hired 18-year-old Salvia (see her Instagram! It’s disturbing, but you won’t stop scrolling) to consult on the show makeup. The models looked like alien princesses with all the face implants and prothesis. That’s post-apocalyptic chic.
Collage by Edward Kanarecki.
Rick Owens’ spring-summer 2019 collection wasn’t just another Instagram-worthy fashion spectacle. True, the burning, wooden installation in the middle of Palais De Tokyo’s backyard was quite a visual attraction. But in fact, the designer himself did something that you very rarely see in the industry. Something that isn’t straightforward appealing or so-called ‘good for business’. Owens showed his anger and frustration with the current system of not just fashion, but… everything. “I’ve been frustrated with how straight the world can be, how petty,” Owens said, explaining his motives. “Just the process of getting permits to do this (the fire) was tedious”. The garments felt as well as a call for a riot, defiance. Some of the models carried torches and looked like cosmic witches wearing enormous sunglasses and cocoonish garments. Others had metallic head wears and stiff, XXL braces on their hands. There was something very dystopian about the nomadic, floor sweeping coats made of mesh-like leather. Where are those women marching? Or are they heading for the fight? You could also have an impression of a witch coven that is about to start a world-shaking sabbath. Whatever it is, Owens seems to be raging, and so, he directs all those emotions into his deep, multi-faceted work.
Collage by Edward Kanarecki.