, and the rest of the coterie that surrounds him, all of them pushing “far enough” beyond any envelope you can imagine – and oh how he laughs, long and hard.Photography by Craig McDean, Styling byIt wasn’t Halston, it was Charles James, the other genius manqué of American fashion, who was more compatible with Owens’ own vision.
“I’m conscious of apologising, because I think people apologise too much.” Now we’re talking about the hot-ticket issue of appropriation. “I totally borrowed from hip-hop. The big baskets at the beginning were about Run DMC and The Fat Boys. The big, baggy clothes, the T-shirts, the wholegang thing wasn’t black, that was the Mexican culture in Porterville, from the people I was working with at Taco Bell. They’d give me rides home in their lowriders.
Owens compares what he does to a tea ceremony. “My opulence is very controlled, very artificial, a very deliberate and specific thing. The pacing is very anti-gluttony, sumptuous but modest. You’re appreciating it in a modest, thoughtful way.” We’re talking about Beyoncé again . “You live your life through your art,” Owens muses. “Not everyone can do that, but it’s kind of thrilling when you do it right. I think Michèle and I are representative of that kind of thing.
Once upon a time, Owens told a reporter, “Everything to me boils down to a challenge to mortality. You want to say something that will outlast you, you want to leave something – you want to live forever. It’s the human condition.” When I ask him if that is still the case, his answer is instant. “I still feel that, more than ever.” There is even a subtle metaphor for the Endless/Enduring in his work.
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