It was 260 days ago that Rick Owens presented his first collection of the COVID-hiatus near his home on the Lido di Venezia—a mighty-but-melancholy fall-cloud-shrouded show that was chiefly inspired by Mann’s Death in Venice. Eight months on, the Man this afternoon held his fourth and last show here, drawing a final line in the sand to mark the end of this excellent Venetian mini-Owens-epoch and augur the rebirth of something like before that will not remain the same.
Those vast and joyful ejaculations aside, the chief conceit here were the three sizes of portable fog machines after which this collection, “Fogachine,” was named. “I fixated on the whole fog thing because we are entering a period of celebration. And I just love fog in its ambiguity. It’s got religious overtones, it’s got amyl nitrate overtones, it’s got stadium rock concert overtones...
As he said: “I sense this moment of excess coming, that I can’t really participate in because I’m not an excessive guy anymore. But anyway, I had recently said that I thought we had learned some humility in the recent past—however I don’t think we did. But I am suggesting that we still can, and that is what this collection is about. It’s softer. It’s hedonistic, but I hope it’s a responsible, gentle, nice hedonistic. Although of course I am always looking on the dark side.
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Source: VogueRunway - 🏆 705. / 51 Read more »
Source: VogueRunway - 🏆 705. / 51 Read more »
Source: VogueRunway - 🏆 705. / 51 Read more »
Source: VogueRunway - 🏆 705. / 51 Read more »
Source: VogueRunway - 🏆 705. / 51 Read more »
Source: VogueRunway - 🏆 705. / 51 Read more »