Welcome to the 48th insertion of DEMUR®, an analytical series highlighting the intricacies of the artistic world and the minutiae lying within. In this episode we review the empowering Spring 2016 collection by none other than Rick Owens, answering the why’s and how’s of the conjoined silhouette.
Rick Owens is one of few designers that continue to push artistic boundaries in the realm of contemporary fashion. The creative has brought us nudist crotch cutouts, flying rock n’ roll performances, and full length, screaming step dancers. Yet, every season the designer still manages to provoke and question the line of acceptance among critics and onlookers alike, a concept which is extremely crucial in today’s society.
Looking back to a more recent showing - the Spring 2016 womenswear collection, we were met with all aspects of Rick Owens’ absurdity. Although the viewing began with “typical” silhouettes; draping, lively dresses with hits of skin in view, by the fourth look there were already models mounted to each other in substitute for a backpack. This oddity continued throughout the rest of the show, as models walked together, attached upside down, right side up and front and back.
The collection was instantly controversial and tapped into mainstream media with headlines as ridiculous as the presentation may seem, however Owens’ was intentional in his design. Using the contorted body to touch on matters of feminine strength and life itself, the artist yearned to symbolize the physical distress mothers often endure while pregnant, and the underlying strength fueling those ideals.
In order to realize this premise, Rick Owens’ was tasked with curating strong women like dancers and acrobats who were able to withstand another person’s mass. On the contrary, those mounted needed to be capable of hanging upside down for extended periods of time, and remain composed during the walk. Citing the inspiration for this obscene position to a still image taken by Annie Leibovitz for Leigh Bowery (1994), the runway was unconventional but compelling, as with all of Owens’ work.
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