Credits : Dylan Rosser
Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Happiness is just a hairflip away.
"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
"Kind of blue" is the title of this cover story by Lâle Aktay featuring Simon van Meervenne groomed by Deycke Heidorn and shot by Koray Birand for the current issue of Germany's L'Officiel Hommes.
With his galvanized personal aesthetics, Paris-based American designer Rick Owens has little to prove each season other than delivering loyal disciples more of what he does best. Of late, his menswear collections have carved a clear niche of tempered luxury –high drama colliding with the tension of the street. For this season's collection his mind remained firmly on course, channeled it seems through industrial zones and historical operas, between Eastern and Western cultures to balance his wickedly modern androgyny with the sartorial authority of days gone by. Rick Owens' imagination roamed everywhere, from the slaves who built the pyramids in ancient Egypt all the way over to the ceremonial service enacted by the pope and his priests. And, bizarre though it sounds, as soon as he said it, you could see it in the clothes. That short kiltlike skirt ? Isn't that what the workers are wearing in Egyptian tomb paintings ? The cowls, robes and streaming sashes that closed the show, meanwhile, had a monkish mien. But those sashes also evoked the deconstructed obi of a samurai, and the crisscross metalwork that adorned a black felt tunic looked a little like a bandolier. The black leather skirt worn over pants was the latest variant of an Owens signature, but in another time it might have been the uniform of Scottish soldiers at the battle of Culloden. In other words, there will always be something of the warrior in the Rick Owens man. And that's a result of the tribal sensibility he himself has fostered with his clothes. The jackets and coats were spectacular exercises in cut, from the slightly cutaway blazer that opened the show, to the closing flurry of coats. The duffel coats in black or white leather that clasped with two fiercesome metal toggles were the sort of stand-alone pieces that might seduce a man who wouldn't be caught dead in RO's dresses. In cropped blazers, peak-hooded duffel coats and squared leather blousons, the Rick Owens man played an illicit game between boyish innocence and hardened tailoring. Discreet cashmere layers were belted high on the torso, while slick leather jackets cut away in a trapezoidal flare, trimmed in dull satin or hinged mirror paneling. The skirt returned as a major theme over scrunched slim trousers in bleached denim or mastic black leather, striking an elegant minimalism when paired with the season’s fine knit turtleneck sweater. Rare tonal contrasts were delivered as stark whites and ash grays –that lined a sweeping duster in richly textured wool or trailed off a wrapped gilet like an obi sash. Oh my, I heart it so bad !
Posted by Lestat at 6:04 AM