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Among all the distinctive designers in the fashion industry, it is hard to find someone with a more unique soul than Rick Owens (full name Richard Saturnino Owens, born on November 18, 1962. “Saturnino,” meaning Saturn or “to sow” in Portuguese, was also his great-grandfather’s middle name). From winning the CFDA Best Newcomer Award to receiving a Lifetime Achievement Award, his nearly 40-year career spans from being born in Porterville, California, to starting his rebellious journey in Los Angeles, and finally establishing himself in Paris and Italy.

With creative subversion and sharp business acumen, he has built a long-lasting, billion-dollar business empire. From his personal image and style to the unique design aesthetics characterized by draping, textures, and silhouettes, along with continuous applause-worthy creative shows, these elements form the unique language and building blocks of his vast empire. Now, on the occasion of Rick Owens’ 30th brand anniversary and following his first-ever visit to China, I present the most comprehensive guide to exploring his fascinating and eccentric world.

A: ARCHITECTURE

“Architecture has always intrigued me. Becoming an architect is exciting because you leave a monument for yourself on Earth.” (Matches Fashion, 2022)

Rick Owens has always acknowledged that architecture and utopian imagination are among the most significant influences on his work. He describes himself as looking like “logical yet brutalist architects” such as Le Corbusier, Carlo Scarpa, and Luigi Moretti. His inspirations often extend far beyond other designers’ works. Owens admits he prefers reading architecture books over fashion literature and frequently draws inspiration from architectural concepts.

Many of his runway shows pay homage to specific architectural forms, spaces, and movements. For instance, the AW12 show featured models wearing knitted ski masks dubbed “Brutalist Veils.” In AW15, he paid tribute to Frank Lloyd Wright’s ancient Mayan architectural style. The mythical Tower of Babel and the conceptual Russian constructivist Tatlin’s Tower were recurring themes throughout the SS19 collection. Perhaps most directly, the AW20 collection translated Le Corbusier’s Modulor Man, a human measurement system based on the golden ratio, into exaggerated shoulder designs.

Owens’ designs often stem from architectural references, with his iconic “slim and sharp + geometric shapes” silhouette inspired by a photograph of the Berlin Wall, which symbolized Brutalist utopias. “I am, of course, drawn to Brutalism… Its grandeur has an elegant lavishness.” (Neue Luxury, 2016) The SS18 women’s show invitation featured a print of Filippo Tommaso Marinetti’s bust sculpture by Italian artist Thayaht. Owens explained, “This Italian futurist represents an ideal Brutalist aesthetic I’ve been pursuing relentlessly.”

“When I think of figures in space or architectural lines on the body, I usually find a line or proportion. My favorite part is pattern drafting.” (Excelsior, 2007) Owens often defines clear geometric lines and divisions on garments, creating deliberate “3D views” when combined with the body’s contours. In frontal designs, the abdomen often resembles a “square plane,” while the “inverted triangle” cuts of cropped blazers in AW21 extend from the hip line, creating a slimmer and elongated visual effect. In SS24, pants extended to mop-like lengths, with high-waisted silhouettes that visually raised the waistline by at least 10 cm, forming sharp triangular structures that appeared monolithic.

In recent years, two architectural styles have become more prominent in Owens’ fashion designs:

1. Art Deco: Combining modern design with decorative aesthetics, often leaning toward a mechanical aesthetic. This style incorporates zigzag graphics, step patterns, radiating lines, bold shapes, and curved elements. Natural and metallic hues dominate, drawing inspiration from Aztec and Egyptian civilizations. Owens’ SS20 women’s collection showcased his Mexican heritage with metallic Aztec-inspired crowns and cocoon-like coat structures. The structural lines throughout his 2023 collection were reminiscent of Egypt’s Edfu and Luxor temples.

2. Bauhaus: Besides references to Le Corbusier and other architects, Owens’ most straightforward interpretation of this style is the inverted “J”-shaped pocket zipper structure, which he directly calls “Bauhaus.” The curve resembles the line turns found in Bauhaus architecture and typography.

“No one has asked me to design a hotel, and that hurts. I’m still waiting… Or maybe a gym… A beautiful monastic-style chain of gyms.” Owens dreams of one day participating in actual architectural design.

B: BEGINNINGS

Rick Owens often talks about his parents and the influence of his upbringing in Porterville, California, a conservative agricultural town, on his life. His mother Concepción (affectionately called Connie), a seamstress and teacher, taught him how to sew and was “the loveliest Mexican woman.” His father, John P. “Jack” Owens, who was a mailman at a U.S. base in Japan and later a social worker, was someone he both loved and hated: “He thought American women were too independent. He wanted a wife who would make him feel manly. (SEDITION, 2018)” Despite his strong racial biases, having a child with an “inferior” Mexican woman was no big deal for him.

Owens described his mother as a peacemaker who tried her best to make everyone feel comfortable, while his father was a highly combative and culturally domineering figure (VOGUE, 2019). His father strictly prohibited him from watching television (until he was 16, which Owens now thinks was a good decision) and cultivated his lifelong love for books (classics by Karl Huysmans, Confucius, Aristotle, and Pierre Loti, as well as illustrated books of films directed by Cecil B. DeMille) and classical music (operas by Wagner, among others). “When you’re young, your father is your god. So everything you do needs his approval, or you’re figuring out how to deal with his opposition. (SYSTEM, 2022)” His father had a softer side as well: every evening after dinner, he would wear a silk kimono brought back from Japan during World War II, lie in the music room, make tea, burn incense, and listen to two hours of classical music (Gagosian, 2022). Owens believed his personality lay somewhere between those of his parents. He recalled the difficult period of attending a local Catholic school during his childhood: “It was a tough time. I mean, the kids were savage.” The unpleasant experience at Catholic school fueled his rebelliousness and sparked his obsession with floor-length robes, mantles, capes, and pleated fabrics.

After a conservative, tightly controlled childhood, Creatch (short for “Creature,” a nickname given to him by friends during his teenage years) lived an uncontrolled life: in his youth, he became a fully made-up punk who wore gloves and spent nights in run-down places, only to wash off the makeup before visiting his parents to avoid shocking them. “I was trying to be a mix of Thierry Mugler and Klaus Nomi… but I never thought I would reach where I am today, and I didn’t even keep a single photo of that time. (LE TEMPS, 2007)” “I’ve always lived in a gender-fluid world, so it’s never been something I consciously thought about; it just came naturally. (MATCHES FASHION, 2024)”

“I believe that an extraordinary adulthood is often the result of a troubled childhood,” he said. “If I had a perfectly pleasant and comfortable childhood, what would have happened? I wouldn’t have this rage… I feel like I’m avenging myself now.” He summarized his life by saying that children who are too constrained grow up to become addicts and alcoholics, only to eventually find themselves in spirituality and Zen.

John’s childhood was marked by the Great Depression in the U.S., the early death of his mother, and a father who, being an alcoholic, sent him to an orphanage at a young age. He regarded traditional masculinity as sacred and had a strong disdain for luxury and personal adornment. In this regard, he was especially contemptuous of his effeminate son (NEW YORK TIMES, 2017). He claimed not to be obsessed, but Owens’ louder voice made it impossible for him to refute some interview portrayals (SYSTEM, 2022). In 2003, John attended Owens’ fashion show for the first time and said, “I can’t believe so many people are interested in your show. (GQ, 2018)” From then on, his parents attended each season’s show in Paris, proudly witnessing their son’s latest collections. John passed away in 2015 at the age of 95.

In 2022, Connie passed away from cancer. After both his parents’ deaths, Owens still reminisced about them by visiting Saint-Clotilde Church in Paris, where his mother often prayed. During a trip to China, Owens dreamed of his mother, which he interpreted as his desire to share special experiences and places with her. “When I do something special or travel to a special place, a part of me wants to share it with her. (i-D China, 2024)”

C: CEREMONIAL RUNWAY

“Interestingly, I was hesitant about doing runway shows at first. (MATCHES FASHION, 2022)” Although Rick Owens already had a dedicated following five years prior and held his first fashion show at Les Deux Cafes in Los Angeles in November 2001 (which was a small event, only inviting friends and clients, W China, 2023), it wasn’t until AW02 that he held his first official runway show at New York Fashion Week, supported by Vogue. Set amidst the music of Alice Cooper and Iggy Pop and a cold, rigid space, the ethereal and elegant show began. “Being recognized by the American fashion scene probably gave me confidence and made me stand out… I was just at the right place at the right time. I actually thought about turning it down. How could my narrow aesthetics survive on the runway under the spotlight for several seasons? (PLAZA, 2010)”

Today, Owens’ shows are among the most highly anticipated moments at Paris Fashion Week, thanks to his commitment to creating unforgettable and profound runway experiences. Whether it was the “human backpacks” (SS16), the “human centipede” (SS14), or the infamous full-frontal nudity (AW15), or his unconventional runway backdrops like fire-blasting structures (AW12), a cascading foam waterfall (SS13), water jets (SS18), a burning iron tower (SS19), a bubble sea (SS20), the Lido beach (AW21, SS22), flaming iron spheres (SS23), and grand opening ceremonies (SS25), no one else has consistently redefined traditional fashion shows like he has.

He is not one of those designers who complain about having to produce countless collections and shows every year. “I love the thrill,” he once said. “It keeps you alert. It’s like boxing; you have to keep your eyes wide open to stay aware of your surroundings.”

In his view, runway shows are not only an opportunity to present the clothes, stage design, and music he loves, but also a platform to discuss topics beyond fashion and explore different types of beauty in a more performative and social manner. It’s a gift — as evidenced by the audience who spontaneously dress in brand-aligned styles, rivaling the runway models themselves. “When I was 16, I thought the party in The Rocky Horror Picture Show (a cult movie from 1975) was the coolest party ever, and I would have done anything to be a part of it. But now, looking at my audience, I realize that in the end, I get to throw that party myself. (D LA REPUBBLICA, 2024)”

After hosting the AW24 womenswear show at home with only 200 invited guests, Owens felt guilty for this sense of exclusion. As a result, for the entire SS25 show, he decided to invite everyone — from life partners to university students — forming two separate groups of 200 models each for menswear and womenswear, recreating a scene from the 1934 film Cleopatra where the protagonist enters Rome.

The menswear show combined elements from two of Owens’ most iconic shows: the SS14 womenswear series “human centipede” with a “white silk love army” group activity of non-professional models and the SS16 womenswear “human backpack” show featuring gymnasts choreographed into a “bouquet” formation. “This is friendship… respect for friendship. (GQ, 2024)”

Also… Color

For most of Owens’ fashion career, he has been praised for his commitment to black-and-white monochrome tones—characterized by every imaginable shade of black, neutralized with gray and white—which aligns with his belief that “texture and silhouette should take precedence over color.” “The dyes we bought at the grocery store when we were young were cheap, and the colors weren’t particularly dark. So, military green clothes dyed black gradually formed this wonderful ‘green-black,’ and I used this color in every collection. I called it Dust or Drkshdw. (VOGUE, 2018)” At the time, friends would say that the clothes displayed in Henri Bendel’s window had the “color of dying birds,” but Owens considered it a compliment: “I thought it was poetic and beautiful.”

Despite being very committed to his own ideas, he is not opposed to change. For example, in the SS17 season, he boldly and unexpectedly used other color schemes, incorporating soft tones such as yellow, light purple, rust, and blue in “bubbly” fabrics to create stunning light and dynamic effects. “It took me quite a while to gain confidence with other colors,” he said backstage, “but then I thought, if I’m going to play with (other) colors, I might as well go all out.” After setting this precedent, his runway color palette expanded greatly, with red, orange, gradient pink, and rust beautifully blending in the AW19 men’s show. Since then, “the king of monochrome” has become a thing of the past, and with his “transformation,” he has started introducing more vivid colors and patterns. In the AW22 women’s collection alone, there were yellow, coral pink, orange, Tiffany blue, and mixed patterns resembling a tri-color ice cream version. Recently, black, white, and gray have been making a comeback, with SS24 men’s collection showcasing mostly all-black outfits to emphasize high waistlines, narrow waists, and long pants.

Owens’ own wardrobe is entirely black, though he occasionally wears colors other than black. Owens’ color beauty tip: “If you make your t-shirt (color) dirtier than your teeth, your teeth will look whiter. (SYSTEM, 2022)”

Also… COLLABORATION

After becoming the creative director at Révillon, Owens has received similar invitations from other brands over the years, all of which he has declined: “Working for someone else rather than for yourself is a nightmare: you have to make collective decisions, constantly compromise, and prove to the boss that your decisions are correct. You never know if your contract will be renewed. Oh my god, no, I can’t do it.(W China, 2023)”

However, “collaboration” is a more free way to express creativity with other brands. Whether it is a mass-market brand like Eastpak, Meltin ‘Pot, Adidas, or haute couture ateliers like Maison Lemarié, Goossens, Coco Lucquiaud, Owens has collaborated with many brands over the years.

“My (Eastpak collaboration) second season concept drove them crazy… they loved it, but they just felt the production was too difficult, so they canceled the contract with me. (INDEPENDENT, 2009)” At first, he didn’t think collaborations suited him, considering them just a publicity stunt, with only a small number of carefully thought-out collaborations each year. The most famous and highly praised is his collaboration with Adidas, which began in 2013, where he created a product line that departed from the sports giant’s usual style, emphasizing his monochromatic minimalism and bold silhouettes. Low-key niche, all-weather sneakers, recognizable sculptural contours, and prominent soles these labels were used to describe his collaborative footwear.

Unfortunately, this collaboration, which brought Owens more fame, ended in 2017. Later, in his collaboration with Birkenstock, he redesigned the Rotterdam Velcro Sandals and Rotterhiker Boots, with the hiking boots blending Owens’ signature GeoBasket tongue and Birkenstock sandal straps with adjustable fastenings. After AW19, he launched five seasons of collaborative sneakers with French eco-friendly brand Veja.

“I (initially) didn’t like too many chefs in the kitchen (working together), I didn’t like committee-style decision-making… but on the other hand, I began to realize that it’s a great way to meet new people and understand how others work.” It can be said that since 2019, Owens has been collaborating more and more widely: he transformed Champion’s classic sportswear into wide outer robes, waistcloths, and shorts, and changed Champion’s logo into a monochromatic pentagram; his collaboration independent from Moncler Genius has lasted nearly 5 years, even including a custom-designed camper van and metal sleeping capsule; he has infused his personal style into classic shoe models from Dr. Martens and Converse; and launched lifestyle products with Aesop, “representing the beauty of aesthetics, hygiene, and ethics”… countless collaborations.

He has also become more proactive in collaborating with new designers and individual creators online. In 2024 alone, he worked on inflatable rubber boots with Straytukay, a brushed hollow top with Tanja Vidic, and bike stripe rubber fabrics with BDSM enthusiast Matisse Di Maggio… “Working with different teams is fun and exciting; it forces me to think about challenges and new ways to approach things… I’m much friendlier than I used to be.”

D: DRKSHDW (Brand Sub-line)

In addition to collaborations, sub-lines are also a way to reach a broader audience. The brand currently has several sub-lines, including DRKSHDW, Rick Owens Lilies (women’s wear focused on knitwear, featuring dresses and Hollywood-style pieces), Rick Owens Hun (fur line), Maison/Objects (homeware line), and Hunrod (jewelry brand).

DRKSHDW, which stands for Dark Shadow, is likely named after a queer film of the same name that Owens and his high school female classmates used to watch together. The film revolves around a wealthy yet strange family in Maine made up of vampires and other supernatural creatures (T China, 2023).

This sub-line was initially influenced by Eileen Gray’s design, inheriting the style of the SS08 collection. It was a very leather-heavy product line, with a focus on leather bar products, while also resembling employee gym uniforms with many denim elements.

Later, DRKSHDW’s positioning shifted to “cheap main line,” replacing mainline styles with cheaper materials and almost eliminating the use of leather. This move generated a significant amount of revenue during the years Rick Owens became a style icon. Today, DRKSHDW is more diversified, with some styles priced even close to the main line.

E: ENERGY

“I feel a moral responsibility to leave positive energy behind. As long as you’re here, you have to do your best. When I look at these clothes and think about the waste behind them and the responsibility of the industry for environmental pollution, I comfort myself by saying: The world needs beauty. It’s one of the greatest gifts humanity has on Earth. My job is to promote beauty, find its new version, and show it, talk about it, enjoy it, and I guess, wear it. I’m just making suggestions about beauty, but it seems that enough people like the beauty I offer, which means it has some value. I think that’s particularly important.” Spreading positive energy is very important to Rick Owens, and he always strives to make his fashion shows relevant to the theme and have enough cultural and historical value to counterbalance the exaggeration, consumerism, and carbon footprints promoted by fashion itself (WALLPAPER, 2022).

He describes his runway shows as a way of generating enough moral value, entertainment, and economic contribution: “Although I live on Earth, I like to express some positive energy in as detached a way as possible during fashion shows,” he explains. “It’s about looking at humanity from different angles and picking up fleeting beauty that might otherwise be overlooked.” He specifically describes his poetic SS16 runway: one model walking while carrying another (i.e., a “human backpack”). “I put all the positive energy into the show, and I feel like I’ve fulfilled my moral responsibility. Does that make me sound like a real new-age hippie? I’m really just a selfish slut, but I like the idea of ‘trying to be better.’” Rather than having models display the latest collection on the runway, Owens prefers to see his designs worn on the streets and alleys. He encourages this “bravery,” because “my designs have very strong characteristics that people can recognize at a glance, but that might make some people hesitate.”

“Made in Italy” under current Italian law is a vague concept, and sometimes the entire production, from fabric to final product, can be outsourced to developing countries, only to have the “Made in Italy” label affixed after printing in Italy. Meanwhile, many Italian factories have closed due to high investment and low returns, and manufacturing has been forced to shift to lower-cost places like Turkey and Portugal. Rick Owens’ products come from a factory in Concordia, Italy, and in recent years, he has been actively introducing the sustainable fabrics of Italian origin in his runway notes: the patchwork virgin wool comes from a Tuscany-based family tannery certified by the Leather Working Group (LWG); 500-gram pure cotton silk satin, handwoven on slow looms in Como, very compact and rigid; wool canvas woven by the Bonotto textile company using looms from the early 20th century, with narrow width and natural woven edges; and 90% of the cotton fabrics are certified organic cotton. “Italian craftsmanship is more like opera. Japanese craftsmanship is more delicate” (SWITCH, 2023). DRKSHDW’s denim capsule collection is made from denim fabric custom-designed by Japan’s Yamaashi Orimono (founded in 1945) using old-fashioned Sakamoto looms.

He does not agree with green fashion, believing that if we really want to protect the environment, we should buy fewer clothes and buy better ones. “I would never call us a sustainable company; that would be wrong. I’m not saying this because I’m particularly noble. We do have room for improvement, but I like the concept of responsibility in fashion discourse. Because fashion discourse is usually about self, status, and rights. Taking responsibility in the conversation excites me. Because in addition to physical beauty, I also like moral beauty.”

F: FURNITURE

During his time at Hollywood’s Las Palmas Studio, Rick Owens and Michèle Lamy first ventured into furniture design, creating a bed from a gray wool military blanket purchased from a vintage store (which is still available for order today). After moving from Los Angeles to Paris in 2003, Owens began to think about applying his skills to home design. He and Lamy had just bought a five-story residence and studio in the Place du Bourbon Palace, which had once been the headquarters of the French Socialist Party. Initially, the space was filled with gloomy offices and strange partitioned rooms, but after their extensive renovation, it was completely transformed, much like on the show Homes Under The Hammer. They decided that if their love nest could not be filled with the wonderful furniture designed by Jean-Michel Frank (20th-century interior designer and minimalist), they would make furniture for themselves. Indeed, they did so, and in 2010, Owens and Lamy formally presented furniture designs they had conceived and created together, with Lamy overseeing production and reviewing the craftsmanship. “Michèle always says in interviews that we’re together not to have children, and that’s true,” Rick Owens once said in an interview. “But actually, ‘co-creation’ is like our child because our story is basically a story about creation. I tell her my aesthetic ideas, and she gives me feedback and shares her thoughts. In this way, the furniture gets designed.”

“The furniture we make has one characteristic: it’s hard to match it with contemporary design,” Owens defines his furniture, which is made of angular, monument-like shapes and constantly carved forms. Just like his clothes, it incorporates heavy inspiration from architecture, including the brutalist style and bunkers from the World War II German military. The materials are luxurious and rich (crystal, white jade, Carrara marble), skillfully combined with ordinary materials (plywood, concrete, fiberglass)—for example, a wooden chair with antler-like growths. People sometimes think Owens’ furniture is uncomfortable, and he has admitted this multiple times: “But I like more rigorous, formal things that make you sit up straighter. I think they should have a reason to exist. After all, this world is already comfortable enough” (ARCHITECTURAL DIGEST, 2016). His strict standards even extend to “toilets,” a category most people overlook: “Sometimes you walk into someone’s house, and there are artworks and high-end furniture, but when you go into the bathroom, you see a plastic toilet. How can you live near a place where Picasso once lived and use a plastic toilet?” (ARCHITECTURAL DIGEST, 2017). His furniture creations are also displayed in Rick Owens flagship stores around the world, with the most eye-catching piece being a statue of Owens himself in Hong Kong, with a head of soft, flowing hair, brought to life in the form of a table and chair. This playful idea came from pop artist Allen Jones (in fact, Owens’ Italian factory also has an even more eccentric statue).

In December 2016, Rick Owens held a furniture exhibition at the Los Angeles Museum of Contemporary Art, and subsequently, Rizzoli published a book RICK OWENS: FURNITURE ($65). The book is as raw and rugged as his furniture, made from untreated cardboard, and contains everything from specially made furniture for the exhibition to displays in their own home. In October 2024, the B1ock concept store in Hangzhou held an “Elegant Beast” brand furniture exhibition, and the Owens couple attended the event, with nearly all the exhibited furniture sold on the opening day.

In an interview with Wallpaper, Owens stated that his attitude toward designing furniture is the same as with fashion: “I used to compare furniture to Rick Owens haute couture: they are custom designs, all carefully crafted by artisans, and made with rare materials.” However, when looking closely at the furniture at the Hangzhou exhibition, one can still find small details to critique. For example, the screws, which are not hidden in brand furniture, with their simple/hexagonal patterns, do not match the overall shape of the furniture. The early Curial chair, for instance, would have been better if the cross-pattern on the side screws were perpendicular to the horizontal line, better echoing the shape of the piece. The metal table’s surface screws could have been aligned vertically with the edge of the table, or like the Radiance quilting element often used in his clothing, placed at the table’s center in a radial pattern, rather than randomly distributed across the piece. Additionally, it is said that family-owned custom furniture lines (like the French high-end woodworking and furniture workshop Ébénisterie Dagorn) select their clients, only agreeing to make pieces once the client agrees, with hefty prices attached. If that is the case, solving the screw issues would not be difficult. Owens intentionally incorporates structural lines in his clothing, but this is not fully reflected in the aforementioned furniture.

G: GYM

“I’ve been saying for a long time that fitness is the modern high fashion, so buy fewer clothes and work out more. We need to create beautiful things, so people will buy fewer clothes and appreciate them more.” In his youth, he indulged in excess, but in his later years, he focuses more on wellness—“No surprise there,” he says. “I know what I should do every day. I wake up at 8 a.m., drink coffee while working from bed. Then I take a walk on the beach, grab a strong coffee, browse the news, and reply to emails from the factory. I have lunch here, then go home for a 45-minute nap. Afterward, I lift weights and deal with more work… After dinner, I either continue working here or do something simple for fun.” Fitness has become his time for meditation, relaxation, and entertainment. “I change gyms about every five years. Changing gyms feels like moving to another country. It’s completely disruptive because it becomes such a huge part of your day. It’s very important.” (The New Order, 2024)

Under Lamy’s guidance, Owens realized he needed to work out to balance his life. Initially, with the help of a personal trainer and steroids, he reached higher levels in a short time. Later, he stopped using drugs and made daily gym visits a consistent routine for over 20 years. He once said: “Rather than always thinking about what to wear, I’d rather train my body.” He prefers weightlifting over cardiovascular training, which explains his lean physique, “Fitness in some way satisfies my need for decoration or self-expression.” (Fashion Neurosis, 2024) Sometimes, he shares the same gym in Paris with designers Marc Jacobs and Bernhard Willhelm. As the saying goes: “Three parts exercise, seven parts diet.” His diet is very healthy, consisting of a green smoothie for breakfast, fish, vegetables, and avocado for lunch, all prepared and delivered by a chef. However, this has become less strict over time—now, he eats cakes, frosting, milkshakes, and cheeseburgers daily. (i-D, 2024) Do you remember the mysterious symbol from the DRKSHDW subline, which resembled antelope horns or an electric chair? That’s actually a sculpture Owens made called “GYM,” inspired by the gym equipment in his home, the butterfly machine.

With this in mind, Owens’ designs highlight the beauty of the human physique, especially muscularity. The models on his runway always have defined arm muscles when wearing sleeveless styles. In the AW21 season, Owens altered bomber jackets into cropped versions and used a mix of soft and hard fabrics to create a visually strong effect, emphasizing trapezius, brachioradialis, deltoids, latissimus dorsi, etc. Compared to the ultra-deep V-neck tanks and one-shoulder bodysuits of past seasons, in SS22, Owens cut tight tanks to near nothing, leaving only decorative, blurred frames, paired with models’ figures and perfectly loose pants, resulting in a trapezoidal overall silhouette, which looked great. In SS23, the tanks were cut into bikini shapes.

Adequate sleep is essential for recovery after workouts. Even as a workaholic, Owens has maintained a habit of taking a 90-minute nap every day for at least 17 years: “At first, it was to detach from all the new energy when I started designing my collections in Italy, but I also realized it’s a form of meditation that allows me to clear my mind, press the reset button, and that’s more beneficial for me than endurance.” (Wallpaper, 2022)

*In the early 2024 Wall Street Journal, he shared his daily fitness routine:

1. Leg raises and crunches: Unlike regular crunches, you need to lift your legs so the pivot point is only at the hips, “like a pair of scissors” (or it could describe a seated crunch). 30 reps for 3 sets.

2. Bent-over mountain climbers: 120 reps. Completing these exercises takes about the length of a disco song. He used Donna Summer’s “I Feel Love” (5 minutes and 41 seconds) as an example.

H: HISTORY/RELIGION/MYTH

When it comes to referencing history, religion, or mythology, Owens is keen to extract the essence from various eras and traditions and harmoniously integrate them through his unique perspective. Even so, he has his preferences: “I often quote the Bible,” he says. “I love the outlines of ancient Egyptian slaves. I love Madame Grès. When I mix board shorts with bomber jackets, it spans the entire history.” Ancient religions/myths have always been part of his runway themes: LUXOR, EDFU, GETHSEMANE, PHLEGETHON, BABEL, SISYPHUS, CYCLOPS, SPHINX, FAUN, ANTHEM, SCORPIO (Owens is a Scorpio). Though not religious, Owens still respects it for providing a set of rules people can follow to live better lives. He has always regarded the wisdom in the Bible as a blueprint for living, a description of the human condition. “I’ve lived a noble life, doing my best. I believe in kindness. That’s my religion.”

One of the highlights of his SS17 collection was the intense pleating reminiscent of ancient Greek sculptures. This luxurious technique, made famous by Madame Grès, is called Le Plie Grès (Grès-style pleating). Born in 1903, Madame Grès, originally named Germaine Émilie Krebs, decided at the age of 18 to abandon her academic studies to pursue sculpture, later transitioning to sewing. For her, making clothes balanced her pursuit of beauty with her love for sculpture. She once said, “Every corner of the human body is beautiful,” and her mission was to sculpt beautiful dresses from fabric to showcase the elegance of the female form. All her inspiration came from ancient Greek clothing, yet she could present it with a minimalist modern touch, aligning perfectly with Owens’ own philosophy.

“I’m not the kind of designer who says, ‘I just went to China, and this is my inspiration,’” Owens explains. In the AW22 show, models wore fluorescent light tube helmets shaped like Egyptian crowns in a Dan Flavin style (an American minimalist artist known for using commercially available fluorescent lights to create sculptures and installations). This was inspired by Owens’ multiple trips to Egypt, from which he drew geometric outlines from temple and tomb murals. He later interpreted his visual experiences in the two 2023 collections. However, this year, Owens truly spent a week in China, and the weeping willows and lotus ponds that are ubiquitous in the Jiangnan region reminded him of illustrations he saw in his childhood basement. “It immediately made me think of traditional Eastern landscape paintings hidden in scrolls… I felt the futuristic vibe of this city (Shanghai), but I prefer ancient things… I want to see how the future is created through the historical layers of the past.” (i-D Chinese, 2024) We look forward to him showcasing the rich history of Eastern civilization spanning five thousand years in future collections.

I: INDEPENDENCE

“I hope it will be a best-seller because that means people understand it, respond to it, and the message it conveys is meaningful.” (Financial Times, 2022) Owens does not reject commercialization, and is frighteningly independent in business: every product sold under his name is personally designed by him, and he is free to write runway notes expressing his views without worrying about the opinions of corporations. Until just days before the show, he had not shared any information about his ready-to-wear designs with anyone at his company. For the AW16 collection, he personally hand-pleated each piece as a strong reaction to the booming fast fashion industry. The brand was offered $10 million for acquisition in 2004, a matter on which Owens disagreed with his father John. Now, the brand’s market value has surpassed a billion dollars, with nearly a thousand global brand licensing stores. To date, 80% of Owens’ company is still his own, with the other 20% belonging to Owens’ business director (Luca Ruggeri) and CEO (Elsa Lanzo, Luca’s sister-in-law). Both are Italians involved in licensing work, and in 2000, after being impressed by Owens’ signature draping, they decided to collaborate, finding a long-term partnership with an Italian factory called Omar & Mirta (which Owens acquired in 2016). The brand has grown from just four people at the beginning to over 250 employees today (W Magazine, 2023). “Talent is just a small part of success. There’s also intelligence, planning, not saturating the market, and delivering high-quality garments on time so that salespeople can sell them at a high price. This proves the power of business, not talent.” (LES INROCKUPTIBLES, 2023)

In recent years, Owens frequently mentions his “independence”: “My independence cannot happen to anyone else.” (SWITCH, 2023) Facing pressures for performance and financial growth, he believes that even if everything collapsed tomorrow, he would still be a winner. “I never think about that. I probably will never work for another brand. I’ve been spoiled by this stage—how could I become someone else’s employee? Or hire someone to interpret me? That would kill me, and I don’t want to become that.” In today’s fashion world, maintaining independence while having a certain influence is nearly impossible. After Puig bought Dries Van Noten and Ermenegildo Zegna invested in Thom Browne, he has become the last independent male designer in Paris Fashion Week’s front row. In his view, fashion has increasingly become a competitive sport where participants are bought and traded, and commercial tactics are exposed and discussed. This development will only make niche brands with subtle and authentic stories stand out more (BUFFALO ZINE, 2023). But this doesn’t mean the brand will never consider joining a group. “In any case, today we are a mature company, very stable, and very consistent. So our bargaining power and leverage are much greater.” Elsa told W Magazine. Owens has also shifted from thinking “If I die, my brand dies with me” to comparing it to the acquisitions of Dior and Maison Margiela and feeling that selling to a large group is not a big deal: “As a brand grows, it keeps evolving… I hope my descendants can benefit from all of this. I still can’t decide.” (D LA REPUBBLICA, 2024)

By the way, the registered name of Owenscorp in China is “骜文司” (Ao Wen Si), which, although a fallback due to the malicious registration of “Owens,” actually carries deeper meaning: “骜” means 1. A fine horse. 2. A horse that is unruly, which refers to arrogance and stubbornness. Owens has a special attachment to “horse,” as he himself is like a wild and untamable steed. “司” means “to host; operate; manage,” which leads to the word “priest,” indirectly reflecting Owens’ sources of inspiration and image creation.

Now, his ideals remain direct—“I want to become a big fashion house!” “I want to become a legend!” “I want to work until I’m 90 like Giorgio Armani. Honestly, (if I have to die) I’d rather have a stroke while working and die doing what I love most.” (D LA REPUBBLICA, 2024)

And…IMITATION

Rick Owens’ four years of working for counterfeit companies sharpened his pattern-making skills, allowing him to make unexpected diagonal cuts at seam lines and create dramatic drapes with horizontal stripes that cling tightly or hang off the body. He merges casual, approachable styles like t-shirts and sweatpants with high fashion silhouettes, making skirts look cool on beaches and in supermarkets. His work also subjects him to more frequent tests and judgments, helping him maintain relevance and commercialization at a faster pace. “The only meaning in it is repetition and practice. I do it because I know I can always find a job with my professional skills. I don’t remember how ambitious I was at the time.” (PLAZA, 2010)

Over a decade ago, “Rick Owens” was a style label, becoming a major influence and inspiration for countless brands. Owens earned the title of “most copied/imitated designer” — for example: white drawstring crotch pants and early Fear Of God designs. Although he believes “contemporary internet culture is largely about collages and patchworks,” he doesn’t feel frustration, anger, or flattery toward those who plagiarize his ideas and sell them at lower prices. He sees these creations no longer as his personal property but as part of the world: “I always assume these ideas never come from me. I might just have felt something in the air at the same time as others.” “I just collect a lot of ideas in my mind or images on my computer, and then eventually merge them into a collection. I go through all the stimuli, then merge what I’ve seen.” (Purple MAGAZINE, 2017) Just like Boris Bidjan Saberi, who was also categorized under the “long t-shirt club,” he recalls, “Back then, I didn’t know who Owens was… I thought, ‘Who is this guy? Maybe he’s a skater like me (because he’s from California).’” To this day, he still doesn’t understand why Owens made long t-shirts, but hopes to understand one day. (METAL MAGAZINE, 2020) Their starting points were indeed different: Owens was influenced by his youthful indulgence and gothic aesthetic, where goths loved wearing tight clothes, drop-crotch pants, ultra-long t-shirts, and cropped jackets originally not very “masculine,” with less emphasis on ruggedness and more on androgyny, and the long garments worn by religious figures; while Saberi was influenced by the practicality of skateboarding, where his mother always told him that skating would expose his buttocks, so he made the oversized t-shirts tighter to make them longer.

Whenever he sees people wearing brand knock-offs or fakes, Owens finds it amusing, as he feels that his aesthetic has permeated culture so deeply that it has turned into cheap imitations. He marvels at how his subtle influence has infected the world: “Everyone is copying. Some do it more skillfully, some do it less well.” (Purple MAGAZINE, 2017) He believes everything can be “copied,” as design inevitably uses things that have appeared before, extracting elements from history to form one’s own creations: “I’m not inventing anything; I’m just making choices.” (IDEAT, 2024) Take his most popular asymmetrical skirt as an example, “The combination of t-shirts and evening gowns isn’t a new idea — Chanel, Rudi Gernreich, and Norma Kamali have done it, but they added their own style, and I think I added my own too.” (LE TEMPS, 2007) But now many copies only scratch the surface. Of course, he says if he were a struggling young designer, he wouldn’t be so tolerant of plagiarism.

At the same time, as a fashion enthusiast with a deep understanding of both the past and present, Owens finds energy and calm in seeing the cleverness of other designers, viewing it as a small competition. His work has long reflected tributes to designers like Charles James, Madame Grès, Madeleine Vionnet, Mariano Fortuny, Larry LeGaspi, and many others. Before founding his own brand, he was an avid fan of Paul Poiret, Thierry Mugler, Claude Montana, Japan’s three fashion giants, Martin Margiela, Ann Demeulemeester, and more. He has had dialogues and interviews with Karl Lagerfeld, Yohji Yamamoto, and Claude Montana, frequently expressing how Comme Des Garçons has continuously pushed the boring fashion world into the realm of art. The experience of sitting next to Rei Kawakubo for the first time made him feel his life had no regrets. Even in the past decade, he has been paying attention to new things: he was one of the first to congratulate Daniel Roseberry after his Schiaparelli debut, was impressed by Kanye West’s exquisite taste and turning his personal life into an art performance, and praised the early Vetements runway, even commenting on its skyrocketing popularity by asking, “Is it because an entire generation never experienced Margiela?” (NEUE LUXURY, 2015)

In addition to the industry big names mentioned, the brand’s pattern makers also frequently bought works from Carol Christian Poell at the Tokyo boutique Lift, later diluting and simplifying these works or the concepts behind entire outfits to create mainstream versions for their main collections. These activities did not significantly impact Owens’ reputation. Beyond fusing various designers’ aesthetics, simplifying designs, and changing materials to alter the visual effect, Owens has become idolized and deified, granting him almost unreasonably generous tolerance. Perhaps he has already defended this by saying, “I don’t think aesthetics can be owned. Once it’s released, it’s shared by everyone.” (NEXT, 2010)

*An example not quite “imitation” but showing “lag”: In recent years, Owens’ collaboration capsule with Bonotto used fabrics woven on old narrow looms, which are particularly expensive. However, 15 years ago, Poell had asked Bonotto to develop the SELF-EDGE fabric using “mechanical” looms to engage directly in the manufacturing process, rather than using computer-controlled, “smart” machines that could not be intervened once started. The fabric was woven with “President” looms from the 1950s, which Bonotto purchased and refurbished from Japan, creating a high-density and weighty twill fabric with some comfort, albeit at a very high cost. This costly collaboration to develop innovative fabrics allowed Poell to simplify and produce fabric samples that could be efficiently mass-produced for other brands to choose from to share some of the financial burden. (FASHION AND MATERIALISM, Chapter 7)

Also… Icon

Whenever fashion icons are mentioned, we immediately think of those fashion elites who lead a style trend through their personal outfits for a period of time. “Rick Owens” was once a style label, but Owens’ personal wardrobe mainly consists of his basic uniform (see the “U” section). His “icon” status is reflected in the fanatic following of his fashion designs and personal life. Even though “affordable alternatives” are prevalent today, Rick Owens doesn’t lack them, but people are still willing to spend more money to purchase the genuine products as a way to support the brand. Among his fanbase are many young designers who have been influenced by him for decades. Some have made a name for themselves at a young age, while others, due to their overly unique personalities, couldn’t withstand the test of the mainstream market and the fashion system. Others, like Marc Jacobs and Vera Wang, are equally well-known.

In 2003, Gareth Pugh, who would later become one of the three European Gothic designers, interned under Rick Owens, who had just started his fourth year as creative director at Révillon after graduating from the Central Saint Martins fashion design program. “I like that he is a focused technician who sticks to his ideas no matter what” (PLAZA, 2010). Pugh’s profound imagination left a deep impression on Owens, and he and Lamy quickly took Pugh under their wing, guiding him as an experienced mentor. “Lamy is like an overly indulgent mother, while I am the picky and indifferent father. My trust in him comes from my recognition of him.” Thanks to Owens’ support and sponsorship, the talented British designer was able to achieve more ambitious designs—from luxurious furs to high-quality leather, which helped him gain much industry support early on. In 2021, Pugh bought back all shares of his eponymous brand.

Owens frequently gives interviews and shares his views with the world. When it comes to newcomers in the highly competitive fashion industry, he always actively shares insights and advice. “Create, create, create, edit, edit, edit, your voice will emerge, whether good or bad. Release it, find a way to showcase it, and you’ll find your audience and be grateful for it. Don’t worry about getting big, just make it good” (HARRODS, 2023). “All I do is leave my stuff out there, no matter what it costs. Everything is done my way until I can attract someone who can help me— I had no illusions about running a business. Miraculously, my naive little plan succeeded, and I’m still with the pair of partners who found me 30 years ago” (BUFFALO ZINE, 2023).

“People romanticize me to meet their needs, and that’s fine. I’m happy to be a symbol that allows them to elaborate” (SYSTEM, 2022). “Rick Owens” has become a way of life: visually bold yet restrained, with attitudes that balance decadence and asceticism. He has always been confident to the point of arrogance, but sometimes he also experiences self-doubt, thinking, “Who do I think I am?” This thought sometimes pops up (i-D China, 2024). When asked in VOGUE TAIWAN (2023), “Do you think you deserve to be an idol for young people to follow?”, he responded, “I think I have positive values, and I support them in a gentle way.”

J: Joseph Beuys (German Artist)

After graduating from high school, Owens worked as a pharmacy delivery person and a part-time employee at Taco Bell for a while. At the strong urging and support of his mother, Owens left Porterville in his teenage years to pursue his dream of becoming an artist/ painter and attended Otis Art and Design College (Otis-Parsons, once a branch of Parsons School of Design). “The paintings I was making at the time were influenced by David Salle. Now that I think about it, David Salle and Julian Schnabel were my goals back then.” (GAGOSIAN, 2022)

The boundary between fashion and art is a much-debated topic in the industry. As a designer who has studied both fields, when asked multiple times whether fashion is an art form or a way of self-expression, his answer is roughly as follows – for Rei Kawakubo, it may be art, but for me, it may not be. This brief experience in art taught him the most about discovering artists who had a deep influence on his later work, especially the German artist Joseph Beuys. “I think his world is an independent world I aspire to.” (SYSTEM, 2022) “He was my first super idol because everything was about isolation and protection, and it was very militarized,” Owens said. But he quickly realized he lacked discipline, which he considered to be the basic prerequisite for becoming an artist. Additionally, his fear of theory classes led him to believe he didn’t have the courage to become an artist, so he changed his mind and pursued the less intimidating fashion industry. “I was terrified of it,” he said, “It was too intense—like becoming a priest.” (THE NEW YORKER, 2008) “Art is like a priest, while fashion is like disco dancing.” (PONYSTEP, 2008) Later, when he mentioned this decision, he stated, “I think I may have overestimated the wisdom needed for artistic creation. But I’ve always loved fashion.” (NET-A-PORTER, 2010)

The dusty wool material, frequently used since the AW20 collection, also originates from Joseph Beuys. Having survived multiple life-threatening situations during WWII, the grease used to dress Beuys’ wounds and the felt used for warmth became the most iconic items in his work and autobiographical symbols. “The romantic performance of Joseph Beuys at Documenta in the 1970s always excited me.” “Its romance, drama, strangeness, isolation, and introspection have always moved me.” (HARPER’S BAZAAR ITALY, 2023) In his view, “Performa (the name of the AW20 collection)” is an evolution of Beuys’ “Aktions.” In his repeated collaborations with Moncler, Owens often refers to the thermal/isolating effects created in Beuys’ works and says, “This is the story of life. It’s a story about battle and how to protect yourself from being hurt in the battle.” Recently, the exaggerated shoulder structure often seen in his work, known as Kunst (the German word for “art”), when combined with Owens’ personal experiences, can hardly be said not to be a tribute to Beuys. At the same time, this influence is both explicit and subtle, “He’s always been my reference point, until I released the Megalaced shoes, when someone pointed out the shoes in this photo (How to Explain Paintings to a Dead Rabbit) that he was wearing (with crazy tied-up laces). I guess that was a subconscious hint.”

And… JERA (a model)

The alternative aesthetic of Owens, mentioned earlier, is reflected in his very “irreverent” choice of models, with the sequence being unexpectedly unpredictable. Models like Molly Bair (a familiar face at Owens’ womenswear shows) and Grace Bol, alongside street models and independent models like Sam Collet, as well as new online stars like Tyrone Dylan Susman and Fecal Matter, often appear together on the same runway, without restrictions on skin color, ethnicity, or background. When he discovers faces he likes, he will find ways to keep them, and they will appear again in his runway shows and multiple seasons’ Lookbooks, a situation that happens frequently.

The most famous, or perhaps the most embarrassing for Owens, is the German model JERA, whom Owens once described as his “male muse” and who walked in Owens’ shows for 12 years and even had products named after him. During the SS16 runway show, this pale and sharply defined model staged an almost political protest, holding up a banner during the show that read “PLEASE KILL ANGELA MERKEL… NOT” (Please kill Angela Merkel… never mind). It’s no surprise that Owens was furious after the show (poor guy was also beaten by Owens backstage, and no one at the scene understood what he had written).

In an interview with WWD, he emphasized, “Please write that I punched him,” and explained to the reporters, “I hit him because I was angry, this is my show, and everyone will misunderstand it as my message. Besides, shouting to kill someone doesn’t align with my thoughts!” Before the incident, Owens had posted many of his looks on Instagram, and even after the incident, he continued posting (indicating his anger had cooled), but JERA was never to be seen in Owens’ shows again, destined for the “cold palace.”

A similar political slogan incident occurred at the SS19 womenswear show, but this time, it wasn’t a model: A female spectator rushed up to the stone slab, unbuttoned her top, and displayed the sloppy writing on her stomach, reading “Trans activism is misogyny.” In recent years and the foreseeable future, the most favored by Owens is Tyrone Dylan Susman (see “T”).

In recent runway shows, he has accepted the political metaphors he had long avoided: the Mexican wall, the Russia-Ukraine conflict, the Israel-Palestine conflict… “What I do cannot fix anything. At most, it’s a protest, but maybe that’s a good thing.” (SYSTEM, 2022) “Like that moment when I thought, ‘In this era, after we’ve learned so much, should we still be at war? How is this part of our world?’ I feel the same way. And it’s everywhere.” (FINANCIAL TIMES, 2022) When asked about his outlook for the new year by DAZEDDIGITAL.COM earlier this year, he answered, “Tolerance is the mainstream, war is outdated.” However, the still-turbulent 2024 did not respond to his outlook.

K: KITTEN (Kitten)

To be more specific, her name should be Gaia, and she is a beautiful Bengal cat that Owens and Lamy raised. Since the birth of humanity, people have always valued “ownership,” which is why so much emotion is invested in pets. The couple initially bought her to be a “mouse killer,” but soon willingly became her caretakers. She is a regular on Rick Owens’ official Instagram, and followers know that she gave birth to kittens in November 2016. “I know people pour all their emotions into their pets, but you know, any form of love has a positive force—I think it’s very positive.”

Animals are another source of inspiration that Owens frequently mentions, as evidenced by his seasons themed around sparrows, swans, mammoths, and walruses—though he hasn’t yet done a cat-themed collection. Throughout 2016, he focused on animals as a theme, expressing thoughts on humanity’s coexistence with nature and his concerns about the ecological environment in light of issues like global warming and climate change, as he mentioned in the AW16 womenswear show: “I used the mammoth theme to remind us that everything has an expiration date, to remind us that we will one day become like mammoths; it’s just a natural process… We (humans) are just a tiny part of the universe, like stardust.”

L: LEATHER

“In my opinion, a designer’s timeless masterpiece comes from the early stages of their career. At that stage, they capture our attention and make us focus on them.” (T Magazine, 2023) Owens designs using a linear extension method, drawing inspiration from past collections to spark each new one, and still sells almost all of his early works in pre-release collections. He describes the first 13 items he released in 1994 as “the foundation of all my work”: including leather jackets with ribbed lining sleeves, twill trousers and skirts, ribbed tank tops, and nylon T-shirts with rows of beads sewn onto the sleeves. Especially the leather jackets, which he defines as “the first piece that represented the brand,” are the “DNA and starting point” of his early work.

Owens enjoys the association of leather with primitivism and fetishism, reminiscing about the leather bar culture where everyone wore leather jackets. When asked about the washing process, he replied, “Do you really think I’m going to tell you my secret? Especially in a newspaper?” (The Financial Times, 2009). As one of the most iconic designs of his career, his biker leather jackets have been sold ever since, featuring collar wings and asymmetric zippers, made from washed leather that fits closely like “second skin,” suitable for women of various ages. The jacket was a key part of Owens’ early fashion collections (before entering Paris), when he and Lamy lived at the Marmont Hotel as their studio, with the late erotic photographer Helmut Newton living downstairs. The inspiration for these monochromatic jackets came from decadent Hollywood, expanding around the “lifeless pleated silhouette.

And… LINEAR (Linear Extension)

At the beginning of the brand’s establishment, Owens was only focused on making it to the next season, and he didn’t archive samples as long as they were sellable. Later, with confidence in the brand’s growth and future, he began building a comprehensive archive, documented for over ten years by Danielle Levitt, which resulted in two books with the same name. “I want everything I make to have a thoughtful, rational rhythm.” (NET-A-PORTER, 2010) Owens has said that he is not very concerned with what other designers are doing at the moment; rather, he prefers to look back at his own and the masters’ past works, seeking new ways to enhance and refine his previous designs with each new collection. To do this, he has his own moodboard library, categorized as “Inhuman” (portraits of influential figures he admires, such as Salvador Dali, Klaus Nomi, Joseph Beuys, etc.), “Salon” (space designs by greats like Pierre Chareau and Adolphe Appia), and “Bible” (his most successful works), and he tries to blur their influences on him as much as possible. (PRESTIGE, 2023)

He first creates a story using fabric and textures, often drawing inspiration from a silhouette that interests him, such as past looks or his own photographs, then, after considering the current aesthetic atmosphere, injects new thematic elements into the base, making flat alterations (such as modifying silhouettes with a pen or combining different silhouettes) for the pattern maker to create samples based on these silhouettes. The final draft is confirmed through fitting on a three-dimensional form. Alternatively, he may directly call up the desired pattern from the pattern library to create samples and make repeated modifications through three-dimensional fittings as needed — these changes, pattern adjustments, and design ideas are often shared in black-and-white photos on his official Instagram (though he stopped sharing them after 2021). Owens is generous with pattern makers, allowing a degree of creative freedom. In this process, the pattern makers also contribute to the design. “This method has been in place for 20 years… During the first 10 years, I sewed many garments and did a lot of pattern making myself. But then, I established a basic pattern library, and from that point, all collections evolved from those patterns.” (Wallpaper, 2024) Throughout this process, Owens intentionally or unintentionally uses anatomical/architectural knowledge as a “sleight of hand” to add a visual boost to the silhouette. In addition to “linear extension” of his own designs, Owens, who started as a pattern maker, has another design approach: referencing previous designers’ work and weakening their elements, transforming them into Owens-style pieces. This sense of familiarity explains why viewers who have seen multiple seasons of Owens’ work can habitually accept his exaggerated forms with different “shapes that break body stereotypes and provide new interpretations” each season.

“Bringing back old ideas isn’t the worst thing in the world… I’m not doing it on purpose, but that’s just how it is. I did check my own archive. Because I have that mentality — we don’t throw things away.” However, this approach over time can seem a bit lazy — for example, the exaggerated shoulder structure from Kunst, when covered like armor, becomes the Kunst Cozy (armor) style, and when the endpoint is connected with pleated fabric, it becomes the Ruched Kunst style. While one may marvel at the varied but ultimately similar outcomes, there’s no escaping the linear extension — by recognizing this pattern, one could even predict some aspects of his next season. To this, he defends: “If you had a great idea once, why should it disappear? Why not bring it back? Why not celebrate it? Good ideas don’t necessarily need to be discarded for the sake of novelty. If something is good, it deserves to be repeated.” (SYSTEM, 2022)

In December 2017, Owens held his first retrospective exhibition, “Subhuman Inhuman Superhuman,” at the Triennale in Milan, showcasing his multifaceted creativity through clothing, accessories, furniture designs, and fashion show pieces in his universe of extraordinary works. Fans who have seen the exhibition in chronological order, and connected to the two books of the same name published in 2019 and 2023, will have a better understanding of Owens’ design methodology.

And… LARRY LEGASPI (American Fashion Designer)

When asked if there was a purely artistic influence that had a significant impact on him, Rick Owens chose the 1970s: “The ‘70s had a very good platform, with all the exaggerated and relatively exaggerated things. And you know, I’m not a fashion historian, but I believe there was a corresponding formula. Speaking of that flamboyance: I think there were a lot of sexual revolutions at the time, but that extreme flamboyance, almost grotesque like kabuki, was so exaggerated. The period and how people accepted that grotesqueness left a deep impression on me” (Polimoda, 2013).

Among this, besides his first encounter with Claude Montana’s designs that sparked an unconventional, almost mystical vision of heroism and the epiphany he had from Thierry Mugler’s Metropolis collection, the 1970s also shaped the countless iconic camp styles, but one figure that had been long forgotten was Larry LeGaspi, who has become one of Owens’ most important inspirations in recent years.

Most sci-fi films of the last century were concept-driven, and due to technical limitations, their quality often appeared rough and cheap—this aesthetic was reflected in Larry’s work: whether it was the silver performance costume designed for Labelle in 1974 or the classic gothic outfit for the band Kiss the following year. Owens frequently mentioned Larry in his early days and expressed his bewilderment and regret that Larry’s work had been forgotten. In his AW19 collection, Owens paid tribute to Larry and even named the collection after him, writing a detailed biography of Larry. “This decadent feeling was something I longed for when I was 15. For some reason, I could understand what was cool about it, combining the buzz of heavy metal and the sexiness flowing through their blood. All these things came together to form me.” From that season onward, Larry’s little-known archive (a vast collection of sketches, clothing, news clippings, and photos, kept by Larry’s widow) became Owens’ most important source of inspiration for the new design cycle, a trend that has continued without slowing down. The men’s high-heeled Kiss Boots (based on the performance boots from the band Kiss) also became an iconic piece in future runway shows.

“When I started writing this book, I knew it would turn into my autobiography, in some way explaining how my aesthetics were lifted by him.” Larry and Owens had a lot in common: both had an unhappy, bullied childhood, a love for breaking taboos, twisting gender, and were very camp. Fortunately, unlike Larry, who was almost forgotten, Owens has become a fashion icon of this era. In 1980, Larry LeGaspi was interviewed by Us Weekly, where he was described as “the future of fashion” in his personal bio. He said, “I knew I’d have to wait for the world to catch up with me, but I didn’t think it would take this long.” It was Owens, who also walked ahead of his time, that finally allowed the world to truly catch up with Larry. “What excites me the most is that (after my AW19 collection), he now has a Wikipedia page. No one had made one for him before, and this is a victory.” One day, Owens, like Charles James and Rei Kawakubo, will be the theme of the Met Gala, and a retrospective exhibition will be held in his honor. (For more details, see “Rick Owens Loves Larry LeGaspi, You Should Know Him Too”

M: MICHÈLE LAMY

(No need for introduction, right?)

Rick Owens and his wife Michèle Lamy (they married in 2006), along with their creative partners of 30 years, form a dream team—he describes them with deep affection and a bit of humor, like “Hun.” Listening to Owens talk about his “beautiful private witch” could melt even the coldest heart (or perhaps even turn a straight man gay~). She is often referred to as his muse, but he prefers to introduce her as “the better half,” describing their relationship as a complementary symbiotic one. It is Lamy’s strong execution that has supported him in every aspect: “I am merely a monk kneeling before her altar” (Madame Figaro, 2007); “A magical fairy witch who is passionate about communicating and collaborating with artisans” (Wallpaper Vol. 2024); “She is the monkey (Lamy’s zodiac), and I am her tree” (IDEAT, 2024); “She is the most punk and rock element we have; no one can tame her”; “She is the enchanting Sphinx” (also the name of the AW15 collection). “I am so fascinated by someone who acts purely on intuition and feeling. Compared to her, I am so practical, wise, and even a little boring and conservative.” They lived in Los Angeles for many years, and with the support and guidance of Bohemian Baudelaire, as the brand flourished, she became Owens’ successful and steady business partner. Of course, this all happened before Owens brought his talents to Paris, becoming the creative director of Révillon.

Lamy was an early supporter of Owens’ design career. After arriving in Los Angeles in 1979, she owned and operated the famous Café des Artistes nightclub and the successful $10 million fashion brand named Lamy. They first met in 1988 in Little Tokyo, Los Angeles, where they were just “acquaintances” discussing business, as Lamy was looking for a designer for her planned men’s wear collection. Owens then became part of the team developing Lamy’s sportswear line, working in her studio to experiment and produce, eventually persuading her to change direction. They partied together, went to factories together. Once, after a meeting in Paris, Lamy had to fly to New York, and Owens had to return to Los Angeles. That night, drunk and overwhelmed by his feelings, Owens knocked on her door in the middle of the night to confess: “I’ve fallen in love with you, and you love me too.”

After they got together, although their lives remained glamorous, they were still somewhat financially shy. Lamy’s brand faced unpaid bills, and the nightclub business left her in debt. There was even one time when she was held at gunpoint during a robbery in her apartment. Soon after, they moved to the Chateau Marmont hotel, where they stayed in one of the cheapest rooms in the annex, which had not yet been renovated. Owens designed his first collection there, and Lamy wore pieces from the collection every night to her second restaurant, Les Deux Cafes. From then on, they became one of the fashion world’s few “Best Matches.” “Rick would come to Les Deux every night at 11 PM, and we would have dinner together. Sometimes, I would end the evening with a song performance, and he could hear me singing from across the street. We were together every night.” (W China, 2023)

*A funny anecdote from a China trip: The domestic media seized the rare opportunity to photograph and interview them. Even the talkative Lamy couldn’t handle it, especially since she was 80 years old. Owens directly told the media, saying, “Each team gets only 5 minutes for a photoshoot,” to lighten Lamy’s workload.

And…MOVIES/MUSIC

Originating from his harsh childhood basement, those collections that Owens’ father considered “useless” were stored there. It was there he discovered Hollywood Babylon, Remembrance of Things Past, The Wicked, as well as various photo albums of silent film stars and set designs. All of these have shaped the aesthetic he continuously champions, “These films became my aesthetic prescription—ancient stories of faith and lofty ideals, mixed with the exoticism of camp and horror seen through the black-and-white new art filters of the turn of the century.” The illustrations in the books were those mosaic-quality, cardboard-cutout silhouettes, which enhanced his ability to imagine the scenes while reading them, a skill he often incorporated into his designs by using cinematic images. Famous director Cecil B. DeMille has been a major inspiration for Owens’ recent collections, particularly The Ten Commandments, which he has watched repeatedly and recommended many times: “The glamour and horror in the black-and-white images presented in Art Deco style, all striving for a higher meaning, culminating in a neat, moralistic conclusion.” Owens has a habit of watching the same old film every morning, with The Black Cat from the 1930s being the most frequently mentioned recently, and during his China trip, he watched Shanghai Express both showcasing Art Deco and modernism. Most of his runway makeup looks often downplay the presence of eyebrows, a fixation originating from a scene in Oedipus Rex: in the desert, Silvana Mangano, with pale skin, wore 60s-style eyeliner, shaved her eyebrows, and donned a single-shoulder coarse linen robe.

In terms of music, Owens is also a true cross-genre enthusiast, as seen from the music played at his shows: rock, opera, trap, electronic dance music (see the playlist Rick Owens: BGM in Runway for details)… catering to his personal taste. Although runway music is just an accessory, he has long determined the playlist during the design process, editing the music and the collection simultaneously. Many of his designs are formed under the influence of the music. “Creating music for a show is almost a meticulous job, like designing the entire ready-to-wear collection. I work with an old friend from Los Angeles, Jeff Judd, on the music. He’s responsible for every one of my shows. I pick things that are meaningful to me, we analyze them, then exchange various segments back and forth on the computer.” (NET-A-PORTER, 2010)

Owens frequently plays exceptional film scores during his shows and actively supports lesser-known musicians by giving them a platform on his social media. For example, the BGM of the AW12 runway show was Ima Read by American rapper Zebra Katz, which helped make Katz famous; he invited South London singer Eska to perform at the SS16 show; recommended his Instagram followers listen to Melbourne singer Spike Fuck’s “smackwave”; and Lamy and her daughter Scarlett’s new band Lavascar received similar backing during several shows to promote their new album. For the SS19 men’s show, the BGM was from Estonian rapper Tommy Cash, and Owens liked him so much that he even had him walk the runway for the first look and later featured him in the track MONA LISA.

In AW22, the men’s runway BGM was Lights by The Sisters of Mercy, an anthem of Owens’ lost youth that he played over and over again. “They’re a great band, aren’t they? I still love them, but now there’s a layer of nostalgia. Who doesn’t like a story of self-indulgence?” (PLAZA, 2010) When Tyrone Dylan Susman said he had never heard Dazzle by Siouxsie and the Banshees, a song that was loved by young people in Owens’ era (SS23 women’s show BGM), Owens realized, “For an entire generation, this is all new, and I can recycle so many things.”

For the AW22 women’s BGM, he chose the melancholic classical piece Symphony No. 5, a selection made four years after the 9/11 attacks, as the first show had been postponed a season due to the tragedy. With the current backdrop of the Russia-Ukraine conflict, the SS25 season used Symphony No. 7 in A Major, Op. 92:II. Allegretto and Tristan und Isolde: Prelude to Act 1, performed by Christian Thielemann. He described it as “the most intolerant situation we are experiencing in the world right now.”

When asked about his favorite runway music, he has repeatedly said, “I love them all, but I set the standard when I used Alice Cooper and Iggy Pop’s songs for my first show.”

(For more details, see The Movies and Music That Most Influenced Rick Owens | i-D Selects.)

N: NO ADVERTISING

Even though advertising has a profound impact on the fashion system, Rick Owens does not use advertisements, has no marketing department, and only holds four fashion releases and pre-season collections per year. Owens skillfully bypasses traditional advertising strategies, claiming “(it) makes you more immersed in the fashion system than I ever hoped for.” He is very clear that his audience tends to prefer brands that don’t do any advertising. The carefully crafted brand tactics are not his way of operating; instead, it is the imagery that can be immediately recognized as “Rick Owens” under the photographer’s lens, as well as his various extended product lines, even his own “personal uniform” (the basic pieces he regularly wears). The only active promotion might be the official Instagram account, which is managed by a dedicated person who collects brand images and provides at least two weeks’ worth of pictures for display. Owens then selects and posts comments. “It’s very rigid and planned, but also very personal.” (H-MAGAZINE, 2019)

He is especially happy when less affluent fans collect brand tags from the clothes in the store as souvenirs or for photo sharing: “It means someone can feel the magic of the designer that I feel.” (INDEPENDENT, 2009) At the same time, he is confident that fast fashion cannot threaten him: “I am a niche.” Even when Owens first debuted under his own name, he personally took samples to each buyer’s store to secure orders. “It’s about sticking to your aesthetic… walking down a road to the end without looking back. Life is the same way, if you’ve made up your mind, go from start to finish.”

Although Owens wants to expand his business, he worries that growing too much will alienate his core customers. He has been negotiating with several beauty conglomerates about perfume business. “When you develop perfume with a big company, you have to advertise. If I don’t advertise, they won’t create benefits for me. But I am very reluctant to advertise. When I saw Yohji Yamamoto’s first perfume advertisement, I hesitated because I absolutely respect his work.” (HAARETZ, 2009) That said, in 2022, he still launched lifestyle products with Aesop, perhaps seeing “collaborations” as the best “advertisement” method. “Advertising is another job, just like a fashion show. Once you start, you need to be prepared to keep doing it forever.” (DOINGBIRD, 2009)>

And…NAME (Naming)

The product names of Rick Owens are also inspired, which further confirms his commitment that “every product bearing his signature logo is designed by him personally.” The signature logo is inspired by a combination of the Champion handwritten logo and Jean Patou’s perfume label. For over 20 years, it has been hand-stamped by Giorgia Malavasi (who is now retired) of the team, and as long as this label exists, it certifies “Made in Italy.”

Below are some examples of naming patterns for certain products:

Names of people involved in the design: Jera Hood, named after Jera, a former muse who was beaten; Tyrone Cut jeans, named after the new muse Tyrone Dylan Susman; inflatable boots made in collaboration with Straytukay; styles with the “Ricks” prefix are his signature pieces that he frequently wears.

Reusing signature cuts from past seasons: Each season sees the introduction of new styles/design elements or reinterpreted versions of previous collections, all named after the season’s theme. Pieces with such names are iconic representations of the current season. For example, the Naska puffer jacket reinterprets the signature curving hem of the Naska (SS12) collection.

References to and tributes to the visual images of musicians: All jackets with the “Headon” label feature a distinctive zipper, especially a single-sided shoulder zipper, inspired by the leather jacket worn by The Clash’s drummer Nicky Headon.

Abstract descriptions of function and image: The Banana series, as the name suggests, is designed to peel back like a banana to reveal the inner layer, allowing the piece to be worn in multiple ways; the Radiance quilting element, often used in collaborations with Moncler, evokes a radiating pattern; the Girdered shoulder cut, resembling a truss, is one of Owens’ recent popular designs. When this is made in draped silk, it gets the “Bubble” suffix.

Imagery from films and TV shows that Owens watched in his youth: The Gilligan fisherman’s hat, inspired by the clumsy character Gilligan from the 1960s TV show “Gilligan’s Island”; the Divine fishtail asymmetrical skirt, inspired by the costume worn by the protagonist Divine in the 1970s cult film “Pink Flamingos.”

Mythological/religious imagery: Inspired by Egyptian mythology, the Anubis figure with tall ears and the Horus figure with a falcon head, featured in a convertible puffer jacket design.

*By the way, the brand’s numbering rule is as follows:

Series/Type + Season + Style + Fabric – Color

There are many series/types, but they can be listed as much as possible. Main line: RR/RO = Show collection men/women’s wear; RU/RP = Non-show collection men/women’s wear; RL = Collaborative capsule collection, mostly with fabric suppliers, such as BONOTTO CAPSULE; RA = Accessories, such as keychain bags; RH = Resort wear; RG = Glasses; RJ = Jewelry; RF = Forever line, which refers to the earliest reissued styles. Other lines: DU/DS = Drkshaw line men/women’s wear; DL = Collaborative capsule collection, mostly with fabric suppliers, such as YAMAASHI ORIMONO denim; LI = Lilies line; HV = Hun line; OWM = Furniture/collectibles line; BG = Children’s line. Collaborations: DM/DW = With Dr. Martens men/women’s wear; CM/CW = With Champion men/women’s wear; DC = With Converse; MU = With Moncler. Other specific numbers like AR = Tube head helmet are not listed.

For seasons, the majority of cases are: before 2021, it is the current year + S/F (Spring/Summer / Autumn/Winter), such as 21S (SS21); from AW21 onwards, it is 01/02 (Spring/Summer / Autumn/Winter) + ABC… continuing the year (21 is A, then subsequent letters), such as 01E (SS25). The Forever line does not need to include the year, so it is 00M/W to distinguish between men’s and women’s wear. Resort wear/glasses/Hun line/furniture/collectibles lines, etc., with no year distinction, are all 000.

There are many styles, fabrics, and colors that cannot all be listed. Fabric codes are partly abbreviations (CP = Cotton Plain), and some are combinations of existing codes (UCS = UC semi-transparent knitted cotton + S silk chiffon).

Example of full codes:

RR 02D 6715 NPDX-36, AW24 main line men’s show collection, ANUBIS jacket, recycled nylon fabric, light blue. RP 02D 3710 LSHMTR-1293, AW24 main line women’s non-show collection, GIRDERED BOMBER cut jacket, Toscanan lambskin and merino wool, lemon yellow 12 / throat red 93.

O: ORDER

“Every master has humble beginnings.” After dropping out of art school, Owens worked for four years at a Los Angeles company that specialized in counterfeit designer clothes, before starting to design his own works. He coined the term “glunge” (a combination of “glamour” and “grunge,” or as we’d say now, “ugly cool”) to define his rough yet luxurious style. (In the AW22 collection, he created a new term to describe his exaggerated new appearance—“glamazleazy,” combining glamour and laziness.) His first piece was the Nile Green Montana jacket with oversized shoulder cuts (“D LA REPUBBLICA,” 2024).

He launched his eponymous fashion brand in 1994, initially designing women’s wear. In the first few years, he tirelessly designed and hand-sewed every piece of clothing before taking them to meet fashion bigwigs and showcase his work. Whenever he talks about this period, Owens always expresses gratitude, especially mentioning the first store to sell Rick Owens products, the Los Angeles boutique Charles Gallay. He used a corset belt as a sign of commitment and met with Charles in the store’s stockroom. They placed an order for about $10,000 worth of goods, with 50% of the payment upfront. Interestingly, they were also the ones who placed the largest order during Martin Margiela’s debut show that year. While helping Owens solve his immediate financial problems, Charles Gallay gave up exclusive sales and recommended Owens to globally renowned buyers such as Browns, Joyce, and Henri Bendel. This not only helped Owens gain more recognition but also boosted his sales. The brand truly took off when Maxfield began selling Owens’ clothes. The late renowned fashion editor André Leon Talley also introduced Owens to Anna Wintour, editor-in-chief of American Vogue, after seeing Owens’ work in Henri Bendel’s window display. This led to Vogue arranging his debut at New York Fashion Week in 2002 and expanding his menswear line that same year. “The fashion buyers of that time were adventurous pioneers. They searched for designers in small woods; they attended fashion shows in remote fields (metaphorically seeking treasure in emerging designers) (“032C,” 2022).”

During this period, he also designed costumes for films. The opening outfit for the female lead in the 1995 film “Tank Girl” was one of his creations: the jacket was half made from military fatigue pants on the inside, with a denim jacket and leather jacket layered on the outside, and the sleeves were different from each other. The overall look was similar to the later patchwork style by Greg Lauren. There were also several other jackets and skirts in the film that Owens designed.

P: PARIS

Rick Owens believes that one of the reasons Larry LeGaspi was forgotten is because he was in New York at the time. Had he been in Europe, or more specifically in Paris, people might have accepted him in a completely different way. So, as a fan, Owens didn’t fully imitate him, but instead moved from New York to Paris. “In Paris, every place I go is either by subway or on foot. I grew up in California where there were no subways, and the subway gave me a huge sense of urban novelty” (INTERSECTION, 2002). Owens enjoys the way “Americans in Paris” live, a lifestyle that is as fragile as “a beautiful bubble that bursts at the slightest touch.” This includes his luxurious residence and studio, filled with the furniture he designed with Lamy, as well as Owens’ precious art collection, his gym, and some nearby restaurants. His favorite one is located at the corner of his street, where he usually goes with Lamy in the evening, enjoying a hamburger and chocolate cake.

“It feels like a Wagnerian Art Deco Valhalla,” referring to the hall in Norse mythology where Odin welcomes the spirits of fallen warriors. As his favorite building in Paris, most of his shows take place in the cave-like basement of the Palais de Tokyo. In recent years, he also often holds shows outdoors and occasionally in the mural section of the National Theater at the Palais Garnier. His flagship store is nearby at Trocadéro Square. For the SS18 men’s show, Owens set up scaffolding over a pool outside the Palais de Tokyo. “It’s a way of caressing its inner walls, licking every inch of the building, with the sole purpose of treating it as a temple of beauty… I always see beauty as the opposite of death.” For the SS20 women’s show, Owens had a group of bubble artists surround a shallow pool, filling it with bubbles of all sizes inside what he refers to as the “Valhalla temple” of the Palais de Tokyo. “We turned the show into a ceremony, dressing them in black robes. Their bubble-making devices looked like spears.” Although Owens tried, he does not speak French.

Since the European social distancing restrictions were announced in 2020, he clearly remembers the magical time of Paris’ first lockdown, where being forced to read under a tree every day felt like a blessing. “Grateful for everything we have, cherishing the journey we’ve come through, and being able to get closer to those around us, I’ll never forget that time.” Later, for the show, he moved to Venice (see “V”).

And… Perfect Circle

“What I think about is a complete circle. Michèle always teases me that I’m only interested in artists who are no longer alive” (Gagosian, 2022). Owens favors deceased artists who have consistently maintained a high standard throughout their lives because they dedicated themselves to the same level of excellence, creating a clear story arc for him to analyze: “I like studying the creative arcs of those eccentric creators… They maintained a relatively consistent creative expression” (WALLPAPER, 2022). “How did they do it? I want to see if they could maintain that momentum and hold onto their state until the end” (System, 2022). This also explains his love for celebrity biographies. He rarely engages with contemporary art, as he doesn’t want to waste time on someone who might change or completely transform into someone else, making their work quality uncertain.

In recent years, one deceased artist he has frequently mentioned is the American Donald Judd. Owens not only draws strength from Judd’s aesthetic repetition, continuity, immortality, method, and order (WKOREA.COM, 2023), but also uses him to counter criticism of the cheaper materials used in his furniture: “If plywood was good enough for Donald Judd, it’s good enough for me” (Wallpaper, 2024).

Q: QUEEN

Over the years, Owens has often been labeled as “Goth” due to his long-time use of black and his preference for the color. However, he does not consider himself “Goth” and instead describes himself as an old drag queen, saying, “Wearing loafers makes me look like a 16-year-old death metal skater…” “It’s all fake! My hair, my body, my teeth – they’re all fake.”

Owens has long expressed his appreciation for camp style, with glam rock making him feel free, or rather, he has always lived in rock itself. The influence of rock legends such as Neil Young, David Bowie, and Iggy Pop can be seen in the BGM of his fashion shows. He often mentions the impact of seeing David Bowie’s “Diamond Dogs” album cover in his childhood basement, and how the ambiguous, gender-bending charm left a profound impression on him. His first concert was also Bowie’s “Station to Station” in 1974. As a teenager, he saw the party scenes in “The Rocky Horror Show” and physically longed to be part of this hedonistic, fallen freak troupe; “Pink Flamingos” made him feel he had found his tribe, a “joyful rebuke to traditional constraints” (PLAZA, 2010). Director John Waters recently wore shoes he designed, a rare excitement (LES INROCKUPTIBLES, 2023).

As a young man living in Hollywood, he spent much of his time in “transgender erotic bars,” which fit his aesthetic of subverting idealistic philosophies. How wild was his youth? He once lived in Los Angeles and was fired from a Mexican drag bar named Plaza for having relations with someone under the table. He frequently drank excessively, often not remembering where he parked his car the next day, or even where he was! When he realized this could jeopardize his health, he finally began to distance himself from the party scene. He now reflects on his younger self and advises, “Drink more water (less alcohol).” After visiting gay clubs around the world, his vision for aging is rather friendly. He has often mentioned that he hopes to try “building a walled garden” where he can read and play with cats. He even plans to be buried in a cemetery a few blocks away from Lido Beach, thus staying on Lido Island forever.

Here are some of Owens’ romantic anecdotes from this period:

1. Owens first experienced intimacy at around 16 or 17 years old and prides himself on being a “late bloomer”: “There was a guy I really liked, but he didn’t like me. So, I NTR-ed his best friend, and that was my first time” (SEDITION, 2018).

2. When Owens was 17, he secretly dated a 35-year-old man behind his parents’ back: “He came to pick me up for the weekend, and I remember my father was washing the car, and I was getting into this old man’s car. My father pulled me aside and said, ‘You know, sometimes young people like you need to be cautious of older men, stay alert.’ He had no idea. He never thought we had already done something” (SEDITION, 2018).

3. Someone introduced Owens to Siouxsie Sioux (lead singer of Siouxsie and the Banshees), and she said, “Oh yes, I remember seeing you in the lounge at Los Angeles International Airport. I thought you were some Italian porn star.” He never forgot that line (PLAZA, 2010).

4. Owens always remembers his first meeting with punk legend Iggy Pop: at a Mexican drag bar, he and his partner often went there for drinks and dancing. One workday evening, they saw a “skinny little man” dancing with an Asian girl on the dance floor. Owens recognized him, and the conversation went like this — “Hey, nice to meet you.” And that was the end of it (SURFACE, 2015).

R: RICK

SM photographer Rick Castro and Rick Owens have known each other for over 40 years. Castro is known as “Bad Rick,” while Owens is “Good Rick.” Castro was not only a matchmaker during Owens’ “young and reckless Hollywood days” — at that time, Castro was Owens’ lover, but eventually, Lamy couldn’t tolerate their relationship and had to fire Castro in order to hire Owens — but he also shot one of Owens’ most memorable lookbooks. This was for Rick Owens’ AW14 menswear collection “Moody,” featuring beautiful and contemplative photographs of four elderly men aged between sixty and ninety-three (one of whom is Castro’s father). Under Castro’s direction, the photos strongly criticize today’s society’s obsession with youthful bodies and emphasize the concept that “sexual desire and attraction have an expiration date.” Owens wanted to depict these everyday elderly men to create images that rebel against conventional beauty standards and fashion.

Even more interestingly, Owens has mentioned that he likes meticulously crafted illusions — not the kind of illusion created by Botox and cosmetics to make oneself appear younger, but rather the fashion illusion that exaggerates and intensifies ideas, almost like a ritual. Owens sees himself as a narcissist, saying, “I’m very open about it because it’s not the real me. It’s a creation. I mean, I created myself, and you can too. Anyone on this planet can create themselves; it just takes a bit of imagination, a bit of confidence, and the effort to become who you want to be. Without all of that, I’m just a pear-shaped, short, chubby, effeminate guy from a small town, but I created the Rick Owens I am now.” With the help of chemical straighteners, generous amounts of Bigen Japanese hair dye, and a good amount of Aesop shampoo, he maintains his naturally curly gray hair into a consistent black, straight look (he even searched on Google for “natural remedies for male baldness,” but now he can tolerate his receding hairline and Mediterranean look). He has worked hard to develop a muscular physique, tanned skin, and almost all of his teeth are fake… “Well, it’s probably about the same as Botox?” he jokes.

S: SNEAKERS

“I think people can wear the most basic jeans and T-shirt, but shoes always play a decisive role in the overall outfit.” (HUGE, 2008)

“Start with shoes… it’s the most decisive part.” (FASHION NEUROSIS, 2024)

Without a doubt, the best-selling Owens product is footwear, and the entry-level item for most fans is the GeoBasket (commonly known as the inverted triangle). “It’s ironic that I became famous for sneaker design. When I first started making sneakers, I wanted to create a humorous version to mock sneakers. I thought sneakers were the most boring thing on earth, the epitome of ‘mediocrity.’ But I still had to go to the gym and needed sneakers, so I began making shoes with my exaggerated style. Eventually, it became my signature, and now it’s the best-selling item I have.

In the past century, American punk music pioneers The Ramones shook up the music scene with their messy hair, leather jackets, worn-out jeans, and sneakers. Owens admired their style and named one of his other best-selling sneakers after them (commonly known as the big Converse). “The Ramones have always been one of my favorite bands… they wore Chuck Taylors, and that was my first impression of Converse…” In 2021, Converse agreed to combine their Ramones brand with the original design, altering their iconic shoe toe, elongating the tongue, and changing the labels and back tags to reflect their collaboration with DRKSHDW. Another collaboration, the prototype Weapon, which was a popular basketball shoe in the 80s, became a new generation streetwear hit after Owens widened and raised the sole, perfectly fitting into the thick-soled trend set by Balenciaga.

“I pay attention to colors. I watch the long lines on the streets. I observe people’s shoes on the subway—what should I do? How should I change it?” (purple MAGAZINE, 2017) Since the Archive trend began in 2020, the predecessor of GeoBasket, the now-rare Dunk series, became a holy grail item. It added elements of Adidas and Puma sneakers to Nike’s classic Dunk, giving it a “clunky” appearance in its boot version. In recent years, the brand has launched a children’s version of GeoBasket, which sold out quickly. His sneaker consumer base now spans from 80-year-old fashion elites to toddlers. The best-selling style in recent years, which sells out as soon as it arrives in stores, is the Vintage, which first appeared in 2007 and added elements from Vans SK8 to the toe and side panels. It sold out immediately due to the Cleanfit trend. Because of this “observation,” he also considers the current aesthetic climate when following trends: he finds the Balenciaga Triple S sneakers impressively ugly, and subsequently released a thicker, wider sole version; the thick shoelaces in the SS22 collection might have been inspired by the iconic Lanvin Curb sneakers; and in the Pre-Fall 25 collection’s order catalog, many classic sneakers have been updated to thinner soles to align with this year’s trend.

T: TRIBE

“There are no rules, no restrictions. I’ve always wanted to spread a message of inclusivity and embracing others.” (VOGUE TAIWAN, 2023)

Over the years, Owens and Lamy have expanded their family into what has now become quite a sizable tribe, with each member almost always dressed in Rick Owens clothes like a uniform. This tribe includes everyone from Lamy’s daughter, artist Scarlett Rouge, to the Rick Owens store manager, runway models like Rory O’Hara and Vanya Polunin, and even the current Welsh alien-inspired makeup artist Salvia, Canadian creative duo Hannah Rose Dalton and Steven Raj Bhaskaran (known as Fecal Matter), Tyrone Dylan Susman, and photographer Danielle Levitt, who has been working with Owens since SS14. This extended tribe has infiltrated Owens’ fashion shows and promotional events. “I’m lucky because I’ve been in the right place, at the right time, with the right people… I truly love what I do.”

In Owens’ view, the success of Owenscorp is only due to a “10%” contribution on his part. “Their talents in distribution, production, and maintaining the emotional bonds of the family are as good as, if not better than, mine. Because when you have so many people and ensure everyone’s safety and passion, a lot of personalities emerge, and that’s where the magic happens.” In 2019, Lamy opened the Owenscorp café in Concordia, Italy. The mural was painted by Scarlett, while the menu was adjusted by Owens. During their time in Italy, Owens’ mother, Connie, would bake persimmon cookies for the team and the factory to enjoy. The setup for the Venice fashion show was also handled by this small team. “We all felt fulfilled, like a bond connected us all, turning it into a personal little celebration.”

Community awareness has always been the foundation for Owens. “It would be foolish of me not to say something. Every voice is important, every voice helps.” SS20 was a season focused on politics, personal identity, and influence, with Owens using his work as a lens to explore his roots in the American South. He invited four Mexican musicians to perform traditional Aztec ceremonial music in the Nahuatl Aztec language, accompanying Lamy’s band Lavascar on their song “Acceleration.” During a blessing ceremony held backstage, they helped Owens translate a special tape he had just received from his mother, where she sang an Aztec song—one that her grandfather had sung to his grandmother, Tecuatl. Despite describing himself as a “pessimist and a cynic,” and acknowledging the evil in the world, Owens believes that the world never lacks its loving side.

And… TYRONE DYLAN SUSMAN (Owens’ New Muse)

Tyrone Dylan Susman, who grew up in Melbourne, looks like a combination of a young David Lee Roth and Ziggy Stardust (one of David Bowie’s alter egos). By the age of eight, he had already decided on his dream of becoming a fashion designer. His graduation project at Royal Melbourne Institute of Technology, “Reign Reptique,” had an aesthetic similar to Gareth Pugh’s, featuring a series of black form-fitting dresses, bodysuits, and floor-length evening gowns adorned with micro-pleats, ruffles, feathers, studs, and spikes. Perhaps it was because of this that in 2017, he met Owens at a museum exhibition and boldly introduced himself: “I’m a huge admirer of yours, I studied your work in college, and I’d be thrilled to send you my portfolio.” Owens agreed and invited him the next day, offering him a modeling job and giving him the opportunity to work and learn at Owenscorp’s factory in Italy.

Since the SS20 collection, Susman has opened every Rick Owens men’s fashion show, staying almost inseparable from Owens in public. During the Lido Island fashion show, he helped with the hair, assisted casting director Angus Munro in selecting models, and finally helped style the runway. He also curated the AW21 collection’s sculptural necklaces and other items made of brass and silver, all handcrafted by artisans at the Paris haute couture studio Goossens. Susman says, “I see how buyers react to different products, what sells well, and what we want to push. These are how things operate. The creative part is one thing, but understanding consumer reactions is crucial for business. So that’s what I really focus on now, and once I master that, I think I’ll be more confident.” (For more, see “21st Century Boy: Tyrone Dylan Susman Realizing His Fashion Dreams with Rick Owens”

And… Tolerance

In recent interviews, “tolerance” and “choice” have become key themes for Owens. He believes that when it comes to aesthetics, the mainstream world has very strict standards, involving specific aesthetic rules, ideal value systems, gender identity, and body image. These reflect a narrow and intolerant perspective, often exemplified by what he calls the “airport beauty counter.” The saying goes, “It’s hard to please everyone,” and the airport, which receives global visitors, often showcases the “lowest common denominator” of beauty (referring to trends and aesthetics that can be accepted by the greatest number of people, not necessarily “vulgar”). These standards are not only imposed on the public by top decision-makers but are also heavily ingrained in the public, who, when they do not encounter these ideals in reality, experience anxiety and vote with their purchasing power, thus falling into a cycle. Owens uses another metaphor to explain: “Some people want fashion to be enjoyable, like the Disney fairytale world. They want to be entertained and comforted like children at Disneyland.” (LES INROCKUPTIBLES, 2023)

So how can we make the world more tolerant? Owens likes the real, the brutal, and the bloody, but not at the expense of mainstream aesthetics. There’s nothing wrong with enjoying a sweet treat wrapped in a sugar coating—it’s valuable, popular, and beautiful—but sometimes the brutal reality is full of broken glass. In his design process, “ensuring that people have more choices” has always been important and frequently mentioned. “I’m talking about what we experience in life: insecurity, disappointment, sadness, fear, anxiety, and the pursuit of beauty. People feel threatened because I suggest that it’s important not to be complacent.” (LES INROCKUPTIBLES, 2023) Fairytales are beautiful but detached from reality, just like Lu Xun’s mention of the “iron house” a century ago, which avoids reality and sinks into consumerism and luxurious dreams. Owens’ mission is to be the “one who wakes up first,” making a limited effort to find something that resonates more broadly with audiences, the “lowest common denominator.”

In the secular world, the inverted pentagram is seen as a symbol of evil, representing dark magic and appearing on the cover of the Satanic Bible. The 15th card of the Tarot, “The Devil,” depicts a goat-headed, human-bodied figure with an inverted pentagram above its head, symbolizing the devil’s temptation to lead humanity into materialism and desires. Whether it’s the layered laces, the stitching in the crotch of runway underwear, or co-branded promotional videos, the inverted pentagram element is an important design language for Owens. He sees it as a “gentle questioning” for the fanatics, including priests like Vincent Lampert, who publicly claimed that Owens’ designs represent Satanic worship. Owens, however, simply borrowed from camp elements, as many black metal bands use the inverted pentagram to express their worship of darkness: “That pentagram is my way of rejecting moralism and judgment. Nobody gets it. I don’t believe in Satan. Come on!” (Financial Times, 2022)

Rick Owens has sparked widespread debate in China twice in recent years due to the domestic aversion to “unlucky” symbols, which are linked to the above-mentioned content. The first was the “But Snow” visual image of Capper (TEC’s high-shouldered cut), which became a hot meme and a viral material in 2023. Before we encountered fashion, we could easily distinguish between everyday clothes and (stage performance) costumes. For example, when we see Kiss’s iconic stage outfits, we accept them as fitting for the stage; however, when people on the streets wear high-shouldered jackets and Kiss boots, we may mock them as “too trendy for their health.” In this case, some young people “dare to wear” what is typically seen as “reasonable” for the stage but transferred to real life, which naturally feels unfamiliar. The video of Capper’s outburst was originally on stage, and this devilish costume being ridiculed by so many reflects a “collateral attack”—a song that was mocked as “shallow” and Capper’s “arrogant” remarks at the time. Since you are already so “irrational,” wearing something eye-catching and “hellish” is seen as a sin.

The second incident occurred during Owens’ trip to China, when Owens and his wife, along with Fecal Matter, visited the Forbidden City. Fecal Matter was reportedly expelled for “inappropriate attire” at this solemn occasion, and later, the individuals involved expressed their refusal to compromise and insisted on self-expression. This sparked a backlash in Chinese social media. Even though one may personally find the expulsion reasonable, the comment sections were filled with phrases like “hellish,” “like uncultured people” (interestingly, both individuals hold master’s degrees), and “not human, not ghost,” which raises the question of whether this represents a form of “intolerance.”

U: UNIFORM (Uniform)

Fashion critic Eugene Rabkin once said that uniforms serve the masses and are the best choice for people who don’t know much about fashion. Just like a suit, anyone can wear it without looking too bad, offering a certain level of comfort both aesthetically and psychologically. The concept of uniformity inherits this idea, not due to laziness in dressing up, but rather as a strict training, showcasing an effortless look where one knows what looks good and what they want. Uniforms are somewhat like “lazy dressing,” yet there are many professionals in the design industry who are part of the uniformed crowd. Karl Lagerfeld (R.I.P), the fashion emperor, maintained an unchanging classic look: a black suit, white shirt, sunglasses, and a white ponytail. Architect Jean-Michel Frank’s wardrobe included 40 identical gray flannel suits.

“I enjoy studying contemporary fashion and can often find things I like from many designers. However, I always wear my own designs.” (ANOTHER MAGAZINE, 2011) Rick Owens has a similar set of attire that resembles a personal uniform, or what one might call the brand’s “basics.” “I don’t really have anything to express every day with my clothes, so this attire is basically my uniform. I might buy 20 of the same item.” To avoid the hassle of deciding what to wear each day, he is accustomed to wearing his own comfortable black boxer shorts to sleep. From wearing military shorts over sweatpants in the ‘90s, paired with a t-shirt and leather jacket, to wearing leather jackets with black mink fur when he moved to Paris, he often wears the same set of clothes for years, only making slight changes over time. He wears this uniform wherever he goes, whether it’s to lift weights, watch opera, or attend rave parties. Unless he needs to express respect, he rarely changes his style for a specific occasion.

After wearing the MA-1 bomber jacket for years, which became one of his brand’s bestsellers, Owens said, “When I think about human civilization, I think of men’s blazers. I don’t want to wear a bomber jacket anymore.” Subsequently, whether it was on the Met Gala red carpet or the CFDA awards stage, his new “personal uniform” became the double-breasted blazer. “I want to dress more disciplined and formal to balance the dirty discord and chaos we are experiencing… If my clothes can address these questions, it becomes more formal. Blazers really make people polite, and this doesn’t need to be emphasized.” The highlight item of the SS18 men’s collection was the blazer, which he views as a uniform of respect, a symbol of civilization, an elegant accessory, and a structure of personal desire.

“My everyday platform boots are a middle finger to the traditional world.” (MATCHES FASHION, 2024) Since the iconic Kiss Boots became a hit upon release, Owens’ style has shifted dramatically. He frequently goes out at night, abandoning the simple and humble look, opting for deeper V-necks to show off his “perfect chest muscles.” “But now, I’m shamelessly pushing further with reckless abandon—the heels are higher, the shoulder pads wider, and the V-neck deeper—(because in the future) I’ll never have this kind of cleavage again. To hell with humility.” High-heeled shoes for men were actually Owens’ earlier “basics,” with a long-standing image in his products featuring a person wearing high heels. “Sometimes, it’s most important to stand taller, straighter, and more confidently. When you see a man with a good physique wearing high heels, there’s a wonderful sense of crossing boundaries and masculinity.” (NET-A-PORTER, 2010)

“This generation is ready to embrace a certain level of absurdity. I don’t calculate so much. I really do it for myself.” (MF FASHION, 2023) He is not interested in buying clothes; all these “basics” are designed specifically for him, and only he can wear them with the most flair. As a fashion icon, his personal image serves as the best advertisement, and because they are highly wearable, the basics become his best-selling collection. “However, the clothes that actually sell are usually more refined and practical, suitable for everyday wear.” (JOONGANG DAILY, 2023) Designers often exaggerate and emphasize what they want to stand out in a season, so runway pieces often differ from those sold in stores. But unlike Tyrone, Lamy can also wear the brand’s runway pieces. Owens’ business strategy is based on this: basics sell, and the runway pieces are just for fun—“I don’t know how many basic t-shirts we’ll have to sell to support each exaggerated item I send down the runway.” (SYSTEM, 2022)

V: VENICE

Owens has a very close connection with Italy, frequently traveling between Paris and Italy. For him, Venice is “the most surreal, magical, and legendary city” he has ever encountered. He and Lamy regularly travel to Venice and, in 2018, purchased what was described in a recent interview as an apartment with “the most unsightly roof on Lido Beach.” What’s great about this place? “It offers a 360-degree panoramic view, with the Adriatic Sea on one side and Saint Mark’s Square on the other, plus the opportunity to enjoy time away from work. It’s the best.”

In addition to being influenced by Death in Venice, Owens’ manufacturing facility is located about two hours’ drive from Venice, in the outskirts of Bologna, Italy. Owens spends countless weekends alone here, designing: “To ensure the survival of the brand, I always go there first. We need to adjust quickly to adapt to the current trends and be ready for a pivot and simplification, to handle any surprises” (MF FASHION, 2023). The village scale and the friendly locals remind him of Porterville. “I love the tranquility of Lido Island. It also has a slightly melancholic air, but I like it.”

Owens’ “serious space” on Lido Island was completed in 2018. He replaced the apartment’s original 1970s turquoise ceramic tile floor with limestone marble—essentially covering the entire space with marble, with the exception of the gym’s walls, which are entirely mirrored. His signature Beast-style furniture remains scattered throughout the apartment.

The dramatic global changes of 2020 raised many questions: How do you design, produce, and showcase fashion during such a severe period? What do people want to wear under various restrictions? Does fashion still matter in such a context? During this time, Owens’ four fashion shows held on Lido Island in Venice gave a middle finger to these questions, becoming stronger and more extreme with broad shoulders, ubiquitous sequins, and exaggerated high heels—defying threats and mocking male conservatism. As a result, he earned WWD’s “2021 Womenswear Designer of the Year” honor.

W: WOMEN

“Maybe I embrace women and objectify men?” (LE TEMPS, 2007). Owens has repeatedly expressed his fascination with women. While he claims that his menswear shows are a reflection of himself—“They are always about self-loathing; how petty, selfish, and vain I am”—his womenswear shows portray “mystery and power” in women. While menswear emphasizes dignity and masculinity, womenswear is approached in a more body-centered way, finding a new way to set body lines and fabric cuts. Instead of showing delicate, fragile-looking models walking in thin high heels, Owens prefers to showcase the most powerful women.

For example, his self-described favorite “human backpack” show (SS16) is not about “wearing people” to imply “no more animal fur,” but rather revolves around “nurturing, sisterhood, motherhood, and rebirth.” It draws inspiration from Leigh Bowery and uses shoulder straps for binding, which “represent restraint and protection, whether for others or for themselves. The cage here becomes a cradle, and the shoulder straps are the ties of love.” Every woman, he says, can be a powerful figure and take on that role. “Women raise girls, girls become women, women support women.”

In the early stages of the brand, the chest pieces designed by Charles Gallay, like a Cosplay outfit, were very direct in their flattery. Thirty years later, you wouldn’t find such designs in Owens’ work. Owens understands how to achieve the kind of commercial, stereotypical sex appeal people want, but he doesn’t do it. For him, 10 parts charm must have 5 parts restraint, which has resulted in his current vision of “highly sophisticated” womenswear. This “restraint” is also what I believe makes the AI-generated RO clothing, which strives to maximize every feature, look unlike anything Owens would design.

X: X-RATED

Owens is the king of eccentricities, and this is no secret. He enjoys shocking his audience because he himself loves being shocked. His SS15 menswear show paid homage to the 1912 Nijinsky ballet “The Afternoon of a Faun,” where in a famous scene, Faun masturbates on a Nymph’s scarf. Even more infamous was his “exposed bird” provocation during his AW15 menswear show, where holes were made in the flat, hanging garments to give a faint glimpse of the models’ genital areas. Adding to this was a photo of him urinating on himself and a statue of himself in the act. Following this show, he was given the mocking nickname “Dick Owens.” “I want to break the norm, breaking the norm is fun, like showing my genitals.” He also stated, “If he (Owens’ father) were alive and saw this, it might be as bad as killing him.” (SYSTEM, 2022).

In 2017, he appeared in the music video for drag queen Christeene’s single “Butt Muscle,” which featured copious amounts of lubricating oil, simulated golden showers, fake punches, bold crotch displays, and entangled kisses, stimulating the senses.

The SS24 collection’s Pharaoh print was inspired by performance artist Ron Athey’s “Incorruptible Flesh” project. In the ‘80s, Owens met Ron while shooting a punk club scene, got his contact information, and drove him to the set. “At that time, he didn’t have tattoos. His face was very soft, but his eyes were really evil. There was a tear (decoration) at the corner of his eye, and his hair stood up like spikes. He was the most beautiful thing I had ever seen in my life.” Later, Owens imitated his spiky hair and chased after him like a lovesick puppy, though he didn’t get a response. They later met again at a party in downtown Los Angeles, exchanged knowing glances, sneaked away, and found an isolated railway track, where they did… (SYSTEM, 2022).

Not only has Owens openly expressed his love for adult films, but he also frequently uses somewhat explicit metaphors in interviews. For example, he described the image of Jesus on the cross as “that sexy, reasonably exposed, naked man”; he referred to the accordion-pleated silk organza “doughnut” down padding of the SS24 womenswear as “X climax”; and he compared his acceptance by many people to “spreading my sperm all over the world,” feeling awkward about this very masculine side of himself. In a 2023 interview with LES INROCKUPTIBLES, he revisited the “exposed bird” issue while discussing masculinity: “The dick is well-protected… it represents power, so I expose it in this way, as a threat. The penis is sacrilegious, precious, protected. Women’s breasts are not. Even a woman’s gender is less offensive. The dick still shocks! Showing it in this way, in various forms, is a way to crush the myth of male power.”

Y: YAWP

OWENS’ official communications, whether through his website, social media messages, or personal email, are all written in uppercase letters. “I like things to almost appear as if they are being loudly proclaimed,” OWENS explains why he insists on using capital letters. “I may be completely wrong because I know some people (use uppercase) just to express shouting, but for me, it’s a joyful declaration. Everything I say is a bit similar, a bit theatrical but very happy. It’s almost like a child making a loud noise in a church.”

Z: ZEAL

“As long as there’s an opportunity for me to communicate with others, to clarify what I’m doing, I’ll seize it.” (SWITCH, 2023) The “Interview” section on Rick Owens’ official website features over 350 interviews from the past two decades (this is not a complete collection, as there are actually more). “When I sometimes look back at the interviews I’ve done, my answers leave an impression on me: they come from a viewpoint that is overly grand, pretentious, and quite dogmatic. But I essentially know very little, and my opinions are just thoughts, very small thoughts. I still hope to learn a lot. Every day, when I see those works of art (including beautiful architecture), they bring me joy.” (LIBÉRATION NEXT, 2015) After reading these interviews, I was reminded of the word “zeal” (or passion) (I’m sure those of you reading here might have felt it too).

“I have a sharp logic when it comes to the pursuit of beauty, a logic that has always attracted me. The works I have admired continue to polish and refine their creative characteristics.” The 1930s and 1970s are Owens’ favorite periods: the former being the modernism, Art Deco, Madame Grès, Madeleine Vionnet, etc., that he was exposed to in his childhood basement, and the latter being the glam rock, cult films, Thierry Mugler, Claude Montana, etc., that he personally experienced and which shaped his unique aesthetic today.

Owens’ sense of contradiction also lies here: while he indulged in the decadence and hormonal expressions of his youth, he also received formal aesthetic education in opera, architecture, and art. “I think the balance between restraint and abundance is essentially a contest between control and release… Achieving the ideal balance within it is a universal pursuit… an eternal challenge, a tug of war, and a beautiful search.” (Wallpaper, 2024) Even though enthusiasts categorize him into “Old Rick” and “New Rick,” you can’t really say he’s “changed.” His preferences and sources of inspiration have remained the same, and he maintains immense passion. This youthful experience has led to his fashion always embodying the tug between “virtue” and “decadence,” like a “person” making peace with its darker nature while moral restraint holds it in check—whether it’s the awkwardness of drawing circles with cockroach pens in a Los Angeles factory or lying on a marble bed in any given house, drinking coffee and checking emails. Whether it’s wearing tight, brightly colored pants that emphasize curves or a suit with big shoulders wrapped tightly, at his core, he’s still the restrained rogue.

Even though there are many contradictory statements—such as about collaborations/commercialization, color being too verbose and only wanting black (now basic pieces are a color palette), disliking men wearing rings and bracelets while he himself doesn’t like bags and sunglasses (yet he now has everything and wears them himself)—who can guarantee that their perception doesn’t always change? And those things that remain unchanged are particularly precious. Below are some of his views over the past two decades that have almost never changed, let’s directly look at the original sentences.

About “Success/Peak/Pride”:

• My proudest achievement is convincing this fast-paced field to tolerate a slow-paced designer.

• I am as surprised as you are at how I managed to achieve such success.

• I think success is being grateful for everything you have. Anyone can succeed.

• I am grateful for the opportunity to express myself creatively, and I never take it for granted.

• I’ve received more in life than I deserve, so if it all comes to nothing, I will still be happy/very lucky.

• I was just in the right place at the right time.

About “Self-Awareness”:

• (What I’m good at) Finding a straight line between point A and point B. However, not everyone sees this as a strength.

• (My biggest flaw) I am a selfish person; (My biggest strength) I know that I am a selfish person.

• How I define myself—an imperfect person, someone who forgives themselves and does their best.

About “Beauty”:

• My responsibility is to broaden the narrow beauty standards that currently exist.

• My essence is always about providing more options for people’s narrow and obsessive perceptions of beauty.

Still ending with the words most commonly used to describe himself:

It’s all of this that has shaped me into the monster I am.

(Monsters, the brand’s first official collection name)

Images and some text sources: Rick Owens Official Website Interview Section

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Vogue Runway

Afterword:

What can I say, the first impression of this ID still feels like CCP. But in fact, Rick Owens’ A-Z version has already been updated for 5 years. Unfortunately, he is a fashion idol, not mysterious, and with a strong desire to share, so not many people know about it, and not many people are interested. Of course, it can’t be called “the most complete,” as long as you are willing, you can wildly extract interview quotes and anecdotes to pile on buffs and write at length, so long it could be considered a book, because he talks too much… you don’t even need to apply fashion theory to analyze him to make up word count.

When I translated the original Dazed article “Your ultimate guide to Rick Owens” seven years ago, I thought it was pretty good. But now, it seems that there wasn’t much technical content, much of it was just adding more buffs, and more of it was simply a work produced in the rush of a content factory (not questioning the author’s ability). It cannot be denied that the pre-arranged index saved me some time thinking of keywords and clarified some directions. Even if about 4,000 words, or even all of the 36,000 words in this article were to be removed, it would still be necessary to mention (mainly because I’m lazy). Additionally, about 20% of it is my original analysis and commentary, which may not seem much, but it adds up to over 7,000 words.

In an interview with EMIRATES MAN (2022) when asked “What pieces push sales season after season?” he answered, “If you reduce my pieces to these fragments, it feels like a very incomplete picture. I would let others summarize me.” It feels like the interview is the same — I believe I’ve pieced him together to be as complete as possible in this article. Therefore, this article is definitely the most comprehensive and easily understandable Rick Owens guide so far (you can add a Chinese version suffix if you like), and who else has the patience to do such an A-Z for him? During the China tour, many netizens asked me “Did you go?” “Did you meet him?” Some even gave the absurd praise “You should have met him above all in China,” which I took as recognition for this small work of mine.

I only have this long-form article left to support my diminishing desire to express myself.

As Maugham said in The Razor’s Edge, “Critics have to toil for decades to reach the same level and get criticized together with the people they criticize.” Jokes aside, Owens indeed opened a new era as a designer, and I don’t consider myself a “family” (in the sense of a follower). The reason I started covering Rick Owens news was simply because he was at his peak, hoping that the audience would also get to know Boris Bidjan Saberi, who is still hanging on as a washed-up man (I heard the Salomon collaboration line is about to be discontinued). But over time, I’ve developed some feelings and turned into a stranger who only knows the basic items of Owens’ brand and personal history, kind of like an unfeeling fanboy, even sharing the same height, body type, and hair loss — according to a fashion insider, his “perfect chest muscles” should not be bigger than mine, which secretly makes me happy.

In the end, not being able to meet him during the China tour is indeed a regret.

The next article will continue with more insights!