Rick Owens Describes His Fall 2022 Look for Men as ‘Glamasleazy’ – WWD

During rehearsals for his fall menswear show, Rick Owens’ male muse, Tyrone Susman, asked the designer to rethink his display of puffy jackets and translucent vests with hoods. face closed, leaving only eye slits and some breathing holes.

Owens was repulsed. “This is not Disneyland at this company. We felt a lot of stress,” he said during a preview.

No racing! Owen’s blistering fall show features Sisters of Mercy playing at a shuddering volume; disorienting flashing lights; a blazer with Urinal lettering; sculpted helmets sprouted from glowing fluorescent tubes – and their clothes were as fierce as their majesty.

It’s an exhilarating show as models glide through a raw concrete space at the Palais de Tokyo wearing giant parkas with long goat hair, bomber jackets with sleeves cut at the elbows, or tops. Jackets and coats are tailored to Frankenstein’s proportions.

Owens explained in his press notes that he first designed the exaggerated shoulders as a “parody of masculinity” only to discover that he enjoyed wearing them as an “excuse to take over.” more space around me. Camp always exaggerates earnestly innocent urges.”

And Owen’s brooding and sometimes menacing outfit is all about conservatism and purism, especially all the tough judgments and high morals that are hyped up on social media these days. “I consider it my life’s job to balance that energy,” he mused.

His dark, rebellious spirit is there gradually, along with hidden sensuality and charm, with Susman opening the show in a metal mesh tank top woven looser than the fence. link – flatters his sinewy body.

Owens invented a new adjective for the look – glamazleazy – adding the additional descriptive word of languidness. Still, there was the usual rigor in his tailoring, sexier than ever, and the craftsmanship of luxurious yet fleshy fabrics, from cotton and duchesse silk to wool woven on looms. It is centuries old.

Back to that Urinal sweater: Owens was on the right track, as he portrayed the act of dropping himself into his own photographs and sculptures, in photographs and exhibitions, as a metaphor. for creative expression is expelled, denied and internalized.

Here, it’s more about “laughing at the man’s promptings” — and perhaps a sly commentary on branding and over-appreciation. “In a world of logos and messages on t-shirts… I think this is counterintuitive,” he chuckles.