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Rick Owens is more aggressive with menswear

Rick Owens is more aggressive with menswear

Rick Owens can't help being "polite" when he designs for women.

His Spring/Summer 16 show certainly got people talking: female models hit the runway "wearing" their fellow models, who were strapped to them via harnesses. It followed a menswear show in February (15), during which models took to the catwalk with their penises exposed. Over time, Rick has realised he's much gentler with his womenswear.

“I think I automatically get polite with women,” he opened up to “With the men’s shows it’s autobiographical; about what d**ks men are, how aggressive they are. Women have a mystique for me; I certainly can’t profess to know what they want, but there are the things that I admire.”

While his shows always create buzz, Rick wants people to know there's a serious message behind them. And even if people react negatively, he's just pleased to bring something new to fashion.

“I suppose a lot of things have been said about the show by now,” he mused. “But for me it was about how people respond to conflict. Conflict is eternal, it has always been an issue; I was using the idea of grace under pressure as a motif. It wasn’t really critical – you sometimes run the risk of appearing pompous if you are. It was not that sophisticated in a political way; it was about emotion. And of course a show is not going to stop conflict; that’s a part of life and life isn’t fair. It’s fine to say it was ridiculous, that’s fine. But I am doing shows where people are talking about something other than ‘red lips.’”

Rick also took some time to reflect on the way his designs have changed over time. His influences have shifted and he now looks closer to home.

“When I was doing this collection, I realised that things around me are not severe, they are Art Nouveau,” he explained. “Art Nouveau is about beauty, emotion and sensuality. Brutalism has often been related to what I do, but Art Nouveau is what I have around me. At the beginning of my career, I started off with an idea of collapse and it then became the fantasy of precision, of control and geometry. And now it has become collapse again – but the sensual collapse of corruption.”

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