
Rick Owens is that rare figure whose story, work, and success are so terrifically singular and unique that my attempt to capture them in summary and reference feels like holding a mirror before a blind man in attempt to explain to him his appearance. Rick Owens stands, in my eyes and those of many others, as an artist of the highest order. A master of his craft, an ardent student of its history and endless variables, his tale is something of modern myth, a living contemporary narrative of a genuine artist’s journey. His work is defiantly original and impeccably realized and over the years has acquired the support and admiration of critics, celebrities, and patrons alike. Above all, his success has come without compromise to the integrity and identity of his creations.





Fashion, like all artistic mediums, is full of both original and borrowed ideas and concepts. In the same way that painters walk a fine line between taking inspiration from another’s style and outright plagiarism, designers constantly pull from past ideas as well as from those of contemporaries. The boundary between original and copied ideas can be blurry and sometimes indistinguishable. But for discriminate appreciators and consumers of art and fashion, finding the origin of certain ideas, movements, styles, and concepts is a vital mission, one that can be extremely difficult, often yielding fruitless results.
For those of you whose quest is to find such authenticity and freshness of vision, Rick Owens is your guy. The man is a genuine original. As avant-garde becomes more and more tangible and accessible to a wider audience, it becomes all the more difficult to create. Something minimal can only be nuanced in so many ways before becoming a tired imitation of itself. Somehow though, Rick Owens continually creates work that is new, that is challenging, that is ever true to an aesthetic identity all his own. His design is perpetual invention, continually spawning an entity that does not exist before he has created it. And whenever Rick Owens’ work is not an outright invention, it is a solecism of tradition executed so perfectly that it produces a new kind of standard.
In some designers, avant-garde and asymmetrical elements feel hollow and listless. The same can be said about some painters in abstract movements such as Cubism and Constructivism. Picasso showed an impeccable talent at painting photographically realistic images early in his career before moving beyond that to the more abstract, minimal Cubist work for which he is renowned. Picasso’s command of traditional art fundamentals served as a platform on which his abstract work could stand. As Rick Owens’ told John Colpatino in an article for the New Yorker, “Picasso did classic figure drawing in the beginning, and then, after that, he abstracted. You can’t convincingly get abstract until you really know the fundamentals. You can’t start distorting things unless you kind of know what you’re doing.”