The invitation was a multi-layered sculptural piece signed by Thomas Houseago, an artist based in Los Angeles currently holding his first retrospective in France at the Musée d’Art Moderne. This museum shares a common courtyard with the Palais de Tokyo, which Owens selected as his venue for today. Here, we encountered a massive Houseago sculpture that filled the space between the two museums, dominating the runway setup. When life gives you lemons, make lemonade, right?
Today, Owens also delved into politics. A print on the runway featuring a pixelated eagle and the letters UFW — a quick Google search revealed it was the flag of the United Farm Workers, a union primarily of migrant workers — seemed to be a political critique of the Trump administration and its absurd fixation on the border wall.
This wasn’t the only statement on the runway by any means. Owens’ men’s collections have gradually refined their dark tendencies over the past few seasons, embracing color and texture in a way that revitalizes his silhouettes. If the previous season was glam rock, this season was undeniably glam Rick. Accompanied by an esoteric live soundtrack performed by four robed men — a feat only Owens could achieve — the models strutted in sequins, iridescent fabrics, and over-laced designs, all with a renewed sense of clarity.
There were echoes of late 90s Marilyn Manson in the styling, which added a fresh, carefree vibe to the runway. As the robed musicians walked away, we were left with a sense of positivity intertwined with defiance. Thanks, Rick.