In the context of Europe being immersed in an intense heat wave, the Rick Owens Men’s Spring Summer 2027 collection was presented in the morning at the Palais de Tokyo.
To cope with the extreme temperatures, guests were equipped with umbrellas and ice, while the catwalk was suspended above the exhibition space’s lake. From the water below, four powerful jets continuously shot straight upward, forming giant domes of water that covered the entire industrial structure of the site. The exciting atmosphere is heightened by the dramatic techno sound, compiled by artist Sissy Misfit from Istanbul. Although Rick Owens himself admitted to initial hesitation in juxtaposing dark, strictly structural designs with strong, gritty sounds in a morning time slot, the contrast creates visual impact and a sense of suspense.
Tension becomes the conceptual axis of this season, developed by Owens from the concept of “tensegrity” by architect Buckminster Fuller. In this architectural principle, compression members are kept stable by a system of continuous tension. The designer contrasts this structure with the human body, and extends it to spiritual life, where all existence is maintained by a network of opposing forces. That concept was realized directly on the runway through foam and latex chaps designs hand-crafted by Straytukay, covering the model’s legs like exogenous structures resembling insect skeletons.
The spirit of sport becomes another important layer of dialogue, marking the long-awaited return of the Adidas collaboration after its hiatus since the late 2010s. The shoe is treated to a soft sock collar that hugs the ankle, combined with an exaggerated running sole with a foam texture, giving an almost deformable feel. Owens frankly admits that he has no direct connection to the sports training or performance design process, and that the engineering was developed entirely with adidas’ specialist team. Since then, sportswear has been upgraded with Climacool technology, thanks to which puffy jackets and pants with built-in fans turn the model’s body into bulging shapes, both technical and dehumanizing.
Besides, a powerful suit language continues to anchor the entire collection. Leather epaulettes were cut from Como cotton-silk poplin, while wide-shouldered blazers in compressed silk crepe counterbalanced the surrounding body contours. Matisse Di Maggio’s hand-trimmed latex tank top and Florence Druart’s latex cape provide an almost liquid surface that reflects light and moves like a second skin.
Owens sees the extremes of these experiments as an inevitable part of the creative process. Moving past ideas that initially seem absurd or highly academic is what helps a garment achieve convincingness on a conceptual level.
Lesson: Hoang Bao – Fashion Columnist
