The invitation was a layered sculptural object signed Thomas Houseago, a Los Angeles-based artist who has his first retrospective in France at the moment in the Musée d’Art Moderne. The museum shares a common courtyard with the Palais de Tokyo, Owens’ venue of choice where we found ourselves today, face-to-face with a huge Houseago sculpture that occupied the space between the two museums, dominating the runway scenography. When life gives you lemons, make lemonade, right?
Though today Owens was ready for politics, too. A print on the runway of a pixelated eagle with the letters UFW — a quick Google search told us that it was the flag for the United Farm Workers, a union composed primarily of migrant workers — was seemingly a political jab at the Trump administration and its obsession with the ridiculous border wall.
This wasn’t the only statement on the runway, by any stretch of the imagination. Owens’ men have streamlined their dark tendencies somewhat in the last few seasons, and slipped on their crystalline dancing shoes, to embrace color and texture in ways that invigorate his silhouette. If last season was glam rock, this season was truly glam Rick. With an esoteric soundtrack played out live by four robed men, a feat only Owens could pull off, while the boys stomped out in sequins, iridescent, and over-lacing — all with a renewed clean eye.
There were hints of late 90’s Marilyn Manson in the styling, which we can definitely get behind, that brought a fresh carefree feeling to the runway. As the musicians in their robes walked away, we were left with a feeling of positivity, laced with defiance. Thanks, Rick.