DAZED KOREA — RICK OWENS — OCTOBER 2025 — By CHOI JIWOONG

ONE DAY IN 2025, RICK OWENS WHISPERED IN FRONT OF THE VAST WORLD OF FASHION: "FINDING THE RIGHT BALANCE BETWEEN CONTROL AND COLLAPSE, ACTION AND ACCEPTANCE, DEFENSE AND LOVE." THE TEMPLE HAS JUST OPENED ITS DOORS, AND WE WILL CAREFULLY RECORD OUR OWN STORIES. BEFORE THE HEAT OF SUMMER FULLY FADES, DAZED SHARES LETTERS EXCHANGED WITH RICK OWENS.

SINCE LAUNCHING HIS EPONYMOUS LABEL IN 1992, RICK OWENS HAS BECOME MORE THAN JUST A MAKER OF CLOTHES— HE IS AN ARTISAN WHO WEAVES TOGETHER RITUAL AND MYTH. IN THE OVERLAPPING REALMS OF TIME AND SPACE, THE COLD TEXTURE OF HIS WASHED LEATHER, THE MEMORIES HELD IN MILITARY BLANKETS, AND THE PRESENCE OF HIS MUSE, MICHÈLE LAMY, AND HIS INTIMATELY PERSONAL CALIFORNIAN BEDROOM BREATHE QUIETLY THROUGHOUT THE EXHIBITION SPACE.

HIS RETROSPECTIVE, TEMPLE OF LOVE, UNFOLDING IN THE VAST HALLS OF THE PALAIS GALLIERA IN PARIS, FEELS LIKE WITNESSING A SUBTLE RITUAL ABOUT LIFE, LOVE, AND THE TRUTH OF THE BODY. AMID HUNDREDS OF GARMENTS, INSTALLATIONS, AND TRACES OF ARTISTS WHO HAVE INSPIRED HIM, GENTLE WAVES OF EMOTION WASH OVER US. THIS IS NOT MERELY A COMPILATION OF PAST WORKS OR A SELF-PORTRAIT — IT IS CLOSER TO THE FIERCE STILLNESS OF AN INNER WORLD. OWENS REVEALS FASHION AS SOMETHING BEYOND PLAY OR SPECTACLE — AS A SACRED SPACE, IMBUED EVEN WITH RELIGIOUS MEANING. HE DOES NOT DISMANTLE HIS OWN MYTH; INSTEAD, HE PERFORMS AN ACT OF HEALING AND RECONSTRUCTION. FOR HIM, CLOTHING IS NOT JUST FABRIC — IT IS A PROTECTIVE SHIELD, A RECORD OF TIME AND THE BODY, AND A FORM OF POETRY. THE TEMPLE HE BUILDS SOFTLY MEETS THOSE MOMENTS WHEN OTHERS MAY NOT WANT TO CONFRONT THE TRUTHS THEY WISH TO HIDE.

HIS SPRING/SUMMER 2026 RUNWAY COLLECTION, PRESENTED UNDER THE NAME TEMPLE AT PALAIS DE TOKYO IN PARIS, TRANSLATES THIS LANGUAGE OF SILENCE INTO CLOTHING. HEAVY LEATHERS, FRINGES, AND SLASHED DETAILS EVOKE THE REMNANTS OF AN ANCIENT RITUAL, WHILE THE STRAPS BOTH EMBRACE AND BIND THE BODY, SYMBOLIZING RESTRAINT AND CONNECTION. RICK OWENS’ CLOTHES ARE AT ONCE ROUGH AND TENDER; WITHIN THEM BREATHES THE BEAUTY BEFORE DESTRUCTION AND THE VITAL FORCE OF RESISTANCE. HE NOW TURNS AWAY FROM THEATRICAL SPECTACLE, FOCUSING INSTEAD ON THE TEXT OF THE INNER SELF. HIS STAGE HAS TRANSFORMED INTO A SLOW, WHISPERING CEREMONY, REBELLING AGAINST THE SPEED AND VISUAL EXCESS OF THE MODERN WORLD.

ULTIMATELY, OWENS’ TEMPLE OF LOVE RETROSPECTIVE AND HIS SPRING/SUMMER 2026 COLLECTION POSE A QUIET QUESTION: WHAT IS TRUE LOVE? WHAT IS THE SACRED RITUAL THAT PROTECTS OUR BODIES AND SOULS? LOVE, PERHAPS, IS NOTHING MORE THAN A GENTLE RIPPLE THAT ENDURES EVEN AT THE END OF TIME — AND WITHIN THAT RIPPLE, WE DISCOVER OURSELVES ONCE MORE. RICK OWENS’ RETROSPECTIVE “TEMPLE OF LOVE” CONTINUES AT THE PALAIS GALLIERA IN PARIS THROUGH JANUARY 7, 2026.

AS ALWAYS, RICK OWENS’ LATEST RUNWAY SPRING/SUMMER 2026 COLLECTION, TEMPLE, WAS SHOWCASED AT THE PALAIS DE TOKYO. BUT AFTER, I FOUND MYSELF AMONG THE MANY PEOPLE WALKING TOWARD HIS RETROSPECTIVE TEMPLE OF LOVE AT THE PALAIS GALLIERA. THE SIGHT OF THAT PROCESSION WAS TRULY SPECTACULAR. YOU SEEMED VERY HAPPY THAT DAY.

RUNWAY SHOWS ARE THE MOST PEACEFUL DAYS OF THE YEAR FOR ME. THE DEADLINE HAS BEEN MET, I AM USUALLY SATISFIED WE DID THE BEST WE COULD AND LOOKING FORWARD TO IT ALL COMING TOGETHER. EVERYONE I MEET THAT DAY IS PROBABLY GOING TO BE NICE TO ME. I DON’T HAVE ANOTHER DEADLINE FOR A WHILE AND I FEEL THE DELICIOUS SENSATION OF COMPLETING A CYCLE. LIKE A BIRTHDAY.

WHEN I HEARD TEMPLE AND LOVE TOGETHER, IT FELT REFRESHING — NOT THE USUAL IMAGE I HAVE OF YOU. WHY IS YOUR RETROSPECTIVE TITLED TEMPLE OF LOVE?

I SUSPECT THAT PEOPLE MIGHT CONSIDER ME AGGRESSIVELY DYSTOPIAN - I WANTED TO BALANCE THAT OUT WITH SOMETHING WARM AND WELCOMING AND PROMOTE HOPE.

WATCHING YOU DANCE LIGHTLY AFTER TAKING A DRINK IN THE FRONT COURTYARD OF THE EXHIBITION, I COULDN’T HELP BUT WONDER — WHAT DOES THE FEELING OF LOVE MEAN TO YOU?

I LIKE THE SOFTNESS OF AN OPEN HEART AND THE IDEA OF MELTING INTO AND CONTRIBUTING TO THE PREDOMINANTLY POSITIVE FORCE OF HUMANITY.

THROUGH THIS EXHIBITION, WHAT DO YOU HOPE VISITORS WILL FEEL OR TAKE AWAY?

I WANT THEM TO SEE CONVICTION, COMMITMENT TO POSITIVE VALUES, RESPECT FOR HISTORY AND DEVOTION TO PERSONAL MORAL IMPROVEMENT.

RETROSPECTIVES ARE USUALLY FOR THE DEAD — OR THE NEARLY SO. YET HERE YOU ARE, VERY MUCH ALIVE. YOU ONCE SAID, “A RETROSPECTIVE IS A MEDITATION ON LEGACY, IMMORTALITY, AND DECLINE.” WHAT DID YOU MEAN BY THAT?

CONTROLLING A RETROSPECTIVE ALLOWS YOU TO CREATE AN IDEAL LEGACY, HIGHLIGHTING ALL YOUR TRIUMPHS AND ERASING ALL YOUR WEAKNESSES; IT IS A PERSONAL PEAK THAT YOU WILL PROBABLY NEVER REACH AGAIN. YOU ARE EMBRACING IT AND SAYING GOODBYE TO IT AT THE SAME TIME.

SO, WHAT “LEGACY” REMAINS FOR YOU NOW?

IN THE BEST CASE, A RECORD OF A PURE COMMITMENT TO INTEGRITY.

I’M CURIOUS ABOUT YOUR MINDSET WHILE PREPARING FOR THIS EXHIBITION. DID YOU EXPERIENCE ANY UNEXPECTED EMOTIONS AS YOU LOOKED BACK OVER YOUR PAST WORK?

IT FELT LIKE AN ACT OF COMPLETION. A SHOW OF ALL MY SHOWS. IF I WASN’T ALREADY DOING 4 SHOWS A YEAR, THE EMOTIONS WOULD HAVE BEEN OVERWHELMING. AS IT IS, THE EMOTIONS WERE MANAGEABLE AND DEEPLY FULFILLING.

LET’S TALK ABOUT THE SPRING/SUMMER 2026 COLLECTION. WHAT WERE ITS MAIN THEMES AND INSPIRATIONS?

THE EARNEST ROMANCE OF NIHILISTIC SLEAZE.

WHY DID YOU CHOOSE SYMBOLIC PERFORMANCES WITH ELEMENTS LIKE WATER, RITUAL, AND REBIRTH?

I LIKE PRESENTING THE GRANDEST GESTURE WITH THE LEAST WASTE. FOG, FIRE, WATER AND EARTH MAKE US THINK OF OURSELVES AS THE SMALLEST PARTICIPANTS IN A MORE TIMELESS AND PRIMAL SPACE.

SHOULD WE CALL IT A RUNWAY OR A PERFORMANCE? WHAT DO RITUAL AND COLLECTIVE CATHARSIS MEAN TO YOU?

PERFORMANCE, PAGEANTRY, CEREMONY, RITUAL, THESE NAMES ALL SOMEWHAT APPLY….PEOPLE HAVE BEEN GATHERING TOGETHER TO CELEBRATE BEAUTY AND SHARED VALUES SINCE THE BEGINNING OF TIME IN THE NAME OF RELIGION, POLITICS AND ENTERTAINMENT, AND CAREFULLY CONSIDERING HOW THEY PRESENT THEMSELVES TO EACH OTHER TO MAKE THE BEST IMPRESSION POSSIBLE.

HOW DO YOU THINK THE MATERIALS, SILHOUETTES, AND PERFORMANCES IN THIS COLLECTION DIFFER FROM THOSE IN THE PAST?

I THINK THERE IS A DETERMINED JOYFULNESS, HESITANT THOUGH IT IS IN THE FACE OF THE WARS WE ARE OBSERVING. DOING OUR MORAL BEST IN THE FACE OF ADVERSITY IS SOMETHING I TRY TO CELEBRATE.

WHAT QUESTION WOULD YOU LIKE TO POSE TO THE FASHION INDUSTRY TODAY?

I HAVE NO CRITICISM- I ONLY WANT TO PRESENT OTHER OPTIONS TO THOSE WHO DON’T SEE THEMSELVES REFLECTED IN THE CONVENTIONAL GLOSS OF CONTEMPORARY CULTURAL AESTHETICS.

YOUR WORK HAS ALWAYS BEEN SEEN AS REBELLIOUS AND ROOTED IN ALTERNATIVE AESTHETICS. IS THERE ANY SOCIAL NORM YOU MOST WANT TO RESIST AT THIS MOMENT??

THERE IS A JUDGMENTAL MORALISM THAT SOMETIMES FEELS OUT OF HAND. THIS IS HUMAN NATURE OF COURSE BUT I FEEL THE NEED TO HELP BALANCE THAT OUT ON MY PART WITH SOME CHEERFUL DEGENERACY.

YOU OFTEN SAY, “I’VE BECOME MAINSTREAM.” I’D LOVE TO HEAR YOUR HONEST THOUGHTS ON THE JOY AND DISCOMFORT THAT COME WITH IT.

I THINK IT’S SATISFYING. I HAD SOME IDEAS I CONSIDERED WORTH PURSUING AND ENOUGH PEOPLE RESPONDED THAT IT BECAME PART OF CONTEMPORARY CULTURE. ONE OF LIFE'S GREATEST REWARDS IS FEELING HEARD. I HAVE FELT HEARD AND I AM DEEPLY GRATEFUL FOR THAT. AND GRATITUDE IS THE FOUNDATION OF HAPPINESS.

YOU’VE ALSO SAID, “I THINK I’M OBSESSED WITH SEX AND DEATH.” WHAT PLACE DO SEX AND DEATH HOLD IN YOUR BRAND AND IN YOUR PERSONAL LIFE?

I AM INTERESTED IN THE PRIMAL URGES AND EMOTIONS THAT WE ARE ALL NEGOTIATING ALL THE TIME- FEAR, SHAME, EGO, EMPATHY, DELUSION, TRYING TO FIND THE BALANCE BETWEEN CONTROL AND COLLAPSE.

THEN WHAT DOES LIVING — THE ACT OF BEING ALIVE — MEAN TO YOU?

DO YOUR BEST WITH THE TIME AND RESOURCES YOU HAVE. TRY TO PRODUCE MORE THAN YOU CONSUME AND LEAVE A TRAIL OF LOVE BEHIND YOU.

WHILE PREPARING FOR THIS INTERVIEW, I THOUGHT OF “RICK OWENS KIDS” — PEOPLE INFLUENCED BY YOU. DO YOU BELIEVE YOUR PRESENCE CAN BE A KIND OF SALVATION TO SOMEONE? HOW DO YOU SEE YOUR INFLUENCE ON YOUNGER GENERATIONS OR ON SOCIETY?

CREATORS IN THE PAST WERE A SALVATION FOR ME AND IF I COULD DO THAT FOR SOMEONE ELSE, I WILL HAVE FULFILLED ANY PURPOSE ON EARTH I HAD.

AFTER SO MANY YEARS OF CREATION, WHAT HAS CHANGED MOST IN YOUR OWN AESTHETICS OR ATTITUDE?

WHEN I WAS YOUNGER, I CLUMSILY ACTED OUT OF CONTEMPT FOR THE STATUS QUO. AS I GOT OLDER, I FELT THE NEED TO CONTRIBUTE INSTEAD OF COMPLAIN.

HOW HAS MICHÈLE LAMY, YOUR MUSE, INFLUENCED THIS RETROSPECTIVE AND COLLECTION?

SHE IS A CONSTANT REMINDER TO GO FURTHER AND HARDER AND STRONGER AND DEEPER.

HOW DO YOU DEAL WITH THE LONELINESS OF CREATION OR THE FEAR AND WOUNDS THAT COME WITH THE PROCESS?

I GET OVER MYSELF.

PREPARING THE RETROSPECTIVE AND THE COLLECTION SIMULTANEOUSLY — WHAT EMOTION DID YOU MOST DEEPLY CONFRONT WITHIN YOURSELF?

THE FEAR OF DECLINE OTHERS HAVE FACED BEFORE ME.

IN THE END, WE ALL FACE DEATH. IF TODAY WERE YOUR FINAL SHOW OR EXHIBITION, WHAT MESSAGE WOULD YOU MOST WANT TO LEAVE BEHIND?

AVOID CONDEMNING JUDGMENT.

AND WHAT WOULD BE THE IMMORTAL TRACE YOU HOPE TO LEAVE IN THIS WORLD? DOES THAT THOUGHT BRING YOU COMFORT?

“HE WAS AN AGENT OF RESISTANCE, OPPOSING CONDEMNING JUDGMENT”

AS ALWAYS, I’LL CONTINUE TO LOOK FORWARD TO AND SUPPORT THE AVANT-GARDE GESTURES YOU BRING TO THE PALAIS DE TOKYO. WHILE YOU’RE ALIVE, I HOPE ABOVE ALL THAT YOU STAY BRAVE AND WELL. AT THE INTERSECTION OF FASHION, ART, AND LIFE — WHAT IS THE SUBJECT YOU STILL MOST OBSESSIVELY WISH TO EXPLORE?

MOCKING CONDEMNING JUDGMENT.