Rick Owens

Tower presented Fall 2026 menswear through cropped flight jackets, tactical shirting, webbing, Kevlar and police-uniform references. Dry ice and a severe procession gave the collection a controlled atmosphere and extended the late-career focus on authority, discipline and public force.

Carpenters Workshop Gallery opened Rust Never Sleeps in London in October 2025 with Michèle Lamy as curator. Rusted surfaces, renewed Double Bubble forms and the Antler Bed made oxidation, ageing and material transformation explicit concerns of the furniture practice.

Temple of Love extended beyond the museum interior through thirty cement sculptures placed in the Palais Galliera garden. The exterior installation connected the retrospective to Owens’s furniture and sculptural vocabulary and made the exhibition part of the surrounding architecture.

Palais Galliera opened Temple of Love on 28 June 2025 as the first Paris exhibition dedicated to Rick Owens. The retrospective assembled three decades of clothing, furniture, images and personal references and gave the house its most substantial institutional framing to date.

Temple staged Spring 2026 menswear at the Palais de Tokyo through scaffolding, water and fountain immersion. The show coincided with the opening period of the Palais Galliera retrospective and turned late-career reflection into a physical runway event.

Concordians connected Fall 2025 menswear to Concordia, the Italian production place central to Owenscorp’s working life. Stripped essentials, portable layers and factory-linked footwear made production geography part of the late autobiographical phase.

Salon 94 opened BACKSTAGE in New York in January 2025 with furniture built from reclaimed and rare materials. Tech Glade moved the object practice toward recording, charging and backstage use, extending furniture into the practical environment of creative production.

Hollywood expanded the Spring 2025 menswear presentation to a 200-model procession at the Palais de Tokyo. Repeated looks moved across students, established collaborators and many body types, giving community and civic spectacle a central place in the collection.

Porterville placed the Fall 2024 menswear show inside Rick Owens’s Paris home environment. The intimate setting connected the collection to his Porterville upbringing, alternative beauty and the house as a lived creative space.

Strobe returned Rick Owens menswear to a physical Paris runway in January 2022 after the Venice Lido digital cycle. Light, staircase staging, metal mesh and enlarged shoulders rebuilt the show around direct audience encounter and monumental scale.

Rick Owens and Dr. Martens began a recurring footwear collaboration in 2021. Megalace constructions, extended tongues and heavy sole proportions altered familiar workwear-derived boots through a recognisable Owens vocabulary.

Phlegethon opened Rick Owens’s Venice Lido menswear cycle in July 2020. Filmed shoreline procession, masks, wader boots, mesh and protective layers gave the pandemic presentation a distinct location and public format that continued through the following Lido seasons.

Moncler and Rick Owens began working together in 2020 through a project that joined down clothing with a custom travel vehicle and intimate interior space. Later releases extended the exchange into footwear and recurring apparel, making habitat and insulation part of the collaboration’s scope.

Champion and Rick Owens began a recurring sportswear collaboration in 2020. Sweatshirts, active basics, bodysuits and outer layers translated Owens’s elongated proportion and muted graphic language into the industrial vocabulary of an established athletic brand.

Performa brought the Fall 2020 menswear runway to a dense theatrical peak in January 2020. Vinyl, shearling, exposed-body graphics, extreme shoulders and platform footwear carried references to Bowie, Kansai Yamamoto and Joseph Beuys into the last major Paris menswear show before pandemic disruption.

Glade opened at Carpenters Workshop Gallery London in September 2019 as a modular furniture environment. Seating units, army blankets, lighting, connectivity and charging functions made the object practice social and infrastructural, with Michèle Lamy central to production.

Tecuatl made Rick Owens’s maternal Mexican lineage an explicit reference for Spring 2020 menswear. Laced garments, track trousers, platforms and references to Puebla and Mixtec histories gave autobiography a direct place inside the house’s collection language.

Hannah Rose Dalton and Steven Raj Bhaskaran of Fecal Matter created alien prosthetic make-up for Rick Owens’s Fall 2019 womenswear show Larry. Their specialist contribution altered the bodies and faces of the presentation and remained distinct from garment authorship.

The Fall 2019 menswear collection Larry placed designer Larry LeGaspi at the centre of Owens’s reference world. Black leather, platforms, sharp shoulders and camp theatricality turned a long personal influence into explicit fashion genealogy.

Babel filled the Palais de Tokyo courtyard with dyed smoke for the Spring 2019 menswear presentation. Tent-like outerwear, wide trousers and Constructivist references enlarged Owens’s spectacle into a public image of pressure, monument and crowd movement.

Rick Owens began collaborating with Birkenstock in 2018 across sandals, clogs and display environments. Lengthened straps, altered finishes and the established Birkenstock footbed created a durable exchange between Owens’s footwear language and a familiar industrial archetype.

Dirt placed the Spring 2018 menswear show inside a scaffolded Palais de Tokyo environment. Modular forms, dragging trousers and altered jacket scale connected the clothed body to temporary public architecture and the physical idea of load.

MOCA Pacific Design Center opened Rick Owens Furniture in December 2016 as the first United States museum exhibition devoted to the object practice. The exhibition placed Owens’s furniture inside an institutional design context and foregrounded Michèle Lamy’s central production role.

Cyclops made women carrying women the central image and physical structure of the Spring 2016 womenswear show. Strapped and draped garments formed doubled silhouettes in motion, turning support, dependence and female strength into visible construction.

Sphinx brought deliberate male exposure into the construction of the Fall 2015 menswear runway. Openings, wrapped layers and heavy footwear made vulnerability part of the silhouette and pushed Owens’s long interest in protection and display into a highly public register.

The Fall 2014 womenswear show Moody shifted the casting toward members of Rick Owens’s extended family and creative circle. Repetition, cocooning and protective volume gave the presentation an intimate social scale after the public force of Vicious.

Vicious replaced the expected runway walk with step teams from four American sororities. Stomping movement, facial expression and collective formation became active parts of the presentation and altered the public scale of Owens’s casting practice.

Carpenters Workshop Gallery opened Prehistoric in London on 12 September 2013. Curial, Trident, Boudeuse, Plug Table and related forms gave the furniture practice a clearer public vocabulary of monument, shelter and dense material presence.

Rick Owens began a footwear partnership with adidas in 2013 and continued it through 2017. Performance tooling, running technology and enlarged sole construction gave the house a new industrial base for experimental sneakers and widened the public reach of its footwear.

Salon 94 opened Pavane for a Dead Princess in New York on 6 May 2010. The installation converted the gallery into a bedroom-like environment and gave the furniture practice its first United States presentation.

Rick Owens Furniture was presented in London in 2009, extending the object practice beyond its first public Paris showing in 2007. The London presentation formed part of the division’s early gallery expansion before its first United States presentation in 2010.

Rick Owens Furniture was first shown publicly in Paris in 2007. The presentation established a visible design branch with limited production, heavy materials and close involvement from Michèle Lamy in production and curation.

The 2006 Pitti Uomo invitation gave Rick Owens menswear its first secure institutional stage in Florence. Dustulator appeared within a larger environment of furniture, installation and self-image, expanding the house from runway presentation into a broader physical world.

Rick Owens began designing furniture in 2006. Plywood, stone, bone, antler, bronze, steel and leather gave the object practice a dense material vocabulary that developed alongside the fashion house.

Michèle Lamy’s continuing role at Owenscorp is documented from 2005, with institutional and gallery accounts identifying her as managing director of art and furniture. Her work spans production, business development, cultural direction and the execution of the furniture practice.

Rick Owens presented Trucker in Paris on 4 March 2003, following the New York breakthrough of the previous year. Paris became the house’s principal runway setting and placed the label inside the European fashion calendar during a period of rapid international expansion.

Sparrow was presented in New York on 12 February 2002 as the first widely documented Rick Owens runway presentation. The show carried the label’s washed leather, long drape and severe layering into a public fashion-week setting and opened its international runway history.

Rick Owens has directed the creative work of his own house since its 1994 foundation. His continuing authorship connects the early Los Angeles clothing practice to the Paris runway, DRKSHDW, furniture, objects and the late institutional phase.

Rick Owens founded his eponymous label in Los Angeles in 1994. The early practice established washed leather, elongated jersey, narrow layering and a dark tactile palette as durable elements of the house.