Mood board: Last month, Owens dedicated his A/W 2019 menswear show to the ‘space sleaze’ and ‘camp ferocity’ of fashion designer Larry LeGaspi, the brainchild behind the 1970s stage costumes of Kiss, Grace Jones and Divine. LeGaspi is a largely forgotten designer, but back in 2002 Owens told Plaza magazine about his newfound affection. In October this year, Owens releases a book celebrating the designer, and his A/W 2019 collection was an exploration of his black leather-dominated, gender fluid and flamboyant aesthetic. The look was strong and lean. Skinny leather trousers, razor sharp tailoring with exaggerated shoulders, second skin maillots worn unfastened over skinny vests, clingy cashmere knit skirts, and elongating platform boots. ‘This 1970s vibe reminds me of an era thrilled with potential liberation, as opposed to our current one, that sometimes feels sullenly entitled,’ Owens said.
Best in show: Owens’ mastery lies in his ability to create avant-garde, even apocalyptic runway shows, which when their looks are stripped back, offer incredibly shoppable pieces. A series of elongating bias-cut evening dresses at the end of the show were fantastically wearable. Owens has also just written the introduction to a book about master of structure Charles James. The couturier’s cut was also on show here.
Team work: Backstage, Owens conducted his interviews alongside the make-up artist Salvia, who he hired to work on the prosthetics used in the show. Models sported elongated foreheads and peculiar modified lumps and bumps on their skin. The make-up artist boasts nearly a quarter of a million followers on Instagram, and Owens was touchingly emphatic about introducing her to press and fans backstage. The championing of freedom of expression at its finest. §
