September 29, 2010 Paris
The dominant principle of the collection was aerodynamicism. It was implicit in the makeup and the hair; combs of bone rose from Luigi Murenu's chignons like alien tiaras—or antennae. But there were also cutaway leather tops and strapless columns that fell away in wings of fabric. Owens had seen the Picasso show at Gagosian in London this summer and been taken by the cardboard cutouts of white doves. That's the kind of subtle transmutation that makes his collections so haunting. And, because every detail is more thoughtful here than at many design houses, the soundtrack—Nathan Fake's "The Sky Was Pink," a piece of electronica whose innate lyricism has been mutated but never matched by multiple remixers—seemed significant. A hard, mutant lyricism is part of the unique appeal of Rick Owens.