THE fashion designer Rick Owens recruited black American college students who are members of step teams to exhibit some of his 2014 collection in Paris. According to Robin Givhan of New York magazine, Owens’s aesthetic is “rooted in nontraditional beauty, confidence, and power.” Gee, that’s strange. It looks to me more like homicidal rage than “confidence;” more like primitive and Satanic ugliness than “nontraditional beauty,” but then I’m not marinated in chic hideousness and revolutionary nihilism every day of the week as Givhan is.
Even in the world of haute couture, blacks are incited to hatred. Givhan, who is black, mindlessly praises the “energy” of the show. And who would dare to correct her? Givhan writes:
From the first models who strode out to thumping drumbeats, the Rick Owens spring 2014 presentation projected an energy not typical on a Paris runway, or any other in recent memory. Standing mostly in silhouette on high scaffolding with a pair of unadorned staircases, the models pounded their chests with a synchronized audacity, then descended the stairs and moved into the vast open performance space en masse, with scowling expressions of determination and ferocity. They twisted and rocked to the beat, throwing their heads back, their arms moving in sharp, angular gestures and their legs rising up in back kicks, side kicks, and deep forward lunges.
Owens says the purpose of the show was to say (something not very nice and unprintable) to conventional beauty. The idea that this is somehow an original stance would be laughable if Owens was just one more black-clad, grungy, tattooed art student. But he is a top designer.
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