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Owens left the scale of the Palais de Tokyo and showed at home, in the former French Socialist Party headquarters where he lives and works. The smaller room made this one of his most personal collections. It is named after Porterville, the California town he grew up in, a place he links with oppression and intolerance.
The big shapes were still there. Batwing shoulders reached the earlobes, puffer vests wrapped the torso like shells, and inflated leather and down boots looked ready for a moonwalk. A deep pink dress on Hannah Rose Dalton seemed to grow wings at the back.
But the quieter pieces were the best. Sweater dresses ran from neck to platform shoe with a porthole cut in the back. Bias-draped dresses with shearling capes had a 1930s, Jean Harlow kind of glamour. The shaggy mohair coats were based on army blanket versions he made at the very start of his career on Hollywood Boulevard, the first place he could be himself.
His point was to offer something other than the narrow beauty standards we are shown every day, and to do it with “cheerful perversity”. Goth and goddess both win here. It is a reminder of how powerful a designer can be when he answers to no one.
Pictures courtesy of Vogue Runway
We do not own the rights to any of these images and they have been used in good faith. Every effort has been made to ensure that all images are used with proper credits. If you are the rightful owner of any image used on our site and wish to have it removed, please contact us at ayerhsmagazine@gmail.com and we will promptly remove it. We are a non-commercial, passion-driven, independent fashion blog and do not intend to infringe any copyright. Thank you for your understanding.
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