Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
Mood board: Rick Owens unwrapped blanket dressing with cocooning shapes that were architecturally folded to mini skirt length in the back, while long apron panels fell to the ankle at the front. Even more thought-provoking were his evening editions, shimmering with sequins and entirely new to the Owens’ repertoire, albeit set in strategic geometric formations inspired by the Mayan Revival style of Frank Lloyd Wright’s Hollyhock House that was recently opened to the public in Los Angeles.
Best in show: The majestic finale looks that came sporting warrior-worthy gold shards. However, we were also rather enamoured by the camel nomad looks that were wrapped like baby swaddling with fur tufts poking out in every which way.
Finishing touches: In addition to the tribal silver and gold leaf face masks that may have belonged to a Mayan God, there were two new boot styles which rounded out Owens’ A/W accessories offering. The first was a more familiar thigh-high tapered leather version, with the twist coming in the form of a new sloped wedge that was abbreviated at the back of the foot to appear almost heel-less. The second an open slatted gladiator version that was studded with glinting hardware.
Photography: Jason Lloyd-Evans
