These Lips Might Sink Ships...: Rick Owens

Months after seeing his Spring collection, I'm still trying to recreate the moth-like hooded eye makeup that swept across the models' faces at the Rick Owens show. Trying to take anything else away from that collection for inspiration seems like an almost impossible task simply because there's something indescribable and a bit intangible about the way he designs clothes. This season, the collection had a sense of envelopment to it, as if the clothes were an outer shell. The cocoon shapes were a dream. I'm not sure why it is, but when clothes are represented as a nearly anatomical protection, I get weak in the knees. Aside from the cape shapes, another element that kept arising was the fur head cover that looked like a nun's habit from a post-apocalyptic future. The fitted leather paneled jackets, the black pleather-y skirts with back slits, and the coats featuring arched shoulders were also highlights. As was his last collection, this collection had an unexpected elegance and to it. The shapes were all very contained and the clothes offered nearly full-coverage, sometimes only leaving the face exposed. Of course these aren't the sole requirements for elegance (and it's not like I know anything about that sort of thing), but they certainly contributed to a refined and defined look. This collection, like all of Owens' others, took on a tribalism and a religious feel. I spoke that way about the Gareth Pugh collection recently, but Rick has purported those for much longer. The tribalism seem applied—outside of the let's look like a Rick Owens gang/cult/syndicate—when the designer discussed inclusiveness and the idea of community in an interview with style.com. He insists, "...you're all freaks and you're welcome to be with me." That's quite an offer. Perhaps it's one he'd regret, lest we forget I have a bit of a crush. As long as there are no objections, I'm there.

Daphne Groeneveld