Mid-century Polish composer Wojciech Kilar was a distinct departure from Owens’ usual visceral electronic noise. Still, he anchored his models to earth with clogs that clacked noisily around the catwalk. Ghost-models, fauns, normal women- all of them clashed in this romantic, but brutal collection. It was a mix of everything Owens did up to date- Luigi Murenu hair-bushed, panel tafetas, black leather, sculptural silhouettes… although there were many cuts and legs to be seen, it all felt attractive through a dark prism. The ortopedic geisha clogs felt also very dramatic. The Ballets Russes, the early 20th century’s most spectacular rejection of the cultural status quo, was his starting point. Owens gave his own spin to a dancer’s tulle.