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The Cult of Beauty
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Transcript of The Cult of Beauty
RickOwensT H E C U LT of B E AU T Y
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B E AU T Y -
A C O M B I N AT I O N O F Q UA L I T I E S , S U C H A S
S H A P E , C O L O R , O R F O R M , T H AT P L E A S E S
T H E A E S T H E T I C S E N S E S , E S P E C I A LY
T H E S I G H T .-
//
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_THE CULT OF BEAUTYrick owens vision
ab
cdeg
h
i
k
B E A U T I F U L
F E M I N I N E
D E L I C A T E
P R E T T Y
A D O R A B L E
A L L U R I N G
A T T R A C T I V E
G R A C E F U L
S T Y L I S H
H A R M O N I O U S
_THE CULT OF BEAUTYrick owens vision
//
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THERE IS A DIFFERENCEBETWEEN
PRETTY& BEAUTIFULBEAUTY CAN ASTONISH US.INSPIRE US.
a
b
c
d
e
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h
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qp
r
-BEAUTY CAN MAKE YOU DANCE & BEAUTY CAN MAKE YOU CRY.
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To ask what is beauty today is to come face to face with the changing definition of it. Perhaps more than any other time in history, we are preoc-cupied with, even confused by beauty: its power, its pleasures, its style, and its substance. Beauty affects us all, today more than ever.
The beauty we see today is different, more complex. It’s elusive, evolutionary, even controversial. No longer is beauty limited to a pretty face or a pretty picture: beauty has come to personify and reflect the social and cultural issues of our day. As we move forward in time, one of the questions we must ask ourselves is: when will beauty no longer be defined by media promoted and commodified images. Flawless features, flawless figures, without regards to what is underneath? Tdo-day, we want images of beauty to be more realistic and acknowledge the attractiveness of our power, our intel-ligence and our experiences.
The battle to intergrate surface with substance, to as-sert that beauty should be tied to who we are rather than to our body weight or to the firmness of our skin, has changed us forever. In today’s quest for a self cel-ebrating image, we are finally beginning to take more risks, to experiment with our appearance, and not be contstrained by the images we see in magazines and on billboards all around the world.
Ultimately, fashion’s contribution to social change can be seen on the runway in the new beauty. Grunge and deconstructivism were only the beginning; the move-ment away from 80s materialistic ideals of artifice and power dressing, big shoulders, big jewelry, bright makeup, big hair, was taken even further with the waif look. Now, as our culture narrows the gender gap, it is no surprise that androgony is becoming a mainstream ideal, and interest in male beauty is growing. This can be seen on runways now days.
The move to a multicultural nation has given rise to a more inclusive beauty, a beauty that celebrates new faces. The broadening definition also allows for en-tirely new categories, such as “ugly beauty”, the street inspired extreme of the 90s. Today, beauty takes its cur from fashion, and fashion’s new direction is pared down: less contrived, relaxed, and more honest. How-ever we try to define beauty for ourselves, we are still bombarded by media images vying for attention. The best of these images speak not just to our wallets, but to our minds: they demand that we question society’s notions about appearaance, look at our changing visual culture and examine our own attitudes about beauty.
Despite all of this progress however, artifice and cos-metic surgery are on the increase. Glamour is still a priority for many women in our society. Anorexia and body dismorphia are rampant: will the pendulum in fashion ever swing back to an appreciation of real wom-en’s bodies? Often, when people see images of models, instead of feeling appreaciated or inspired, they end up feeling bad about themselves. They feel they can’t mea-sure up to the unatteinable ideals they see: ideals that owe a great deal to makeup artists, perfect lighting and photoshop. This is the cult of beauty.
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_THE CULT OF BEAUTYrick owens vision
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THE CULT OF BEAUTY
In this society we have many images of young boys who are deshoveled and yet beautiful. They might be bike messengers, fishermen, construction workers..they don’t have much money, but they don’t need it, because their beauty is not dependent on artifice. Where is the equivalent image for women? If you take a beautiful eighteen year old girl versus a beautiful eighteen year old boy, she will require help to conform to our images of ideal beauty. Women need money for beauty and largely they get it from men who place high value on it.
As fasion continues to break down these barriers or consciously live up to them we see a rise of a new kind of dialog. One that openly talks about these issues and chooses to rebel against them or use them as a form of empowerment. It is no doubt that these steroetypes continue to exist umong our culture, but in the idus-try that is known to have given birth to most of these riduculous standards it is refreshing to witness change both on the catwalk and on the streets.
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THE CULT OF BEAUTY
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b
c
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_THE CULT OF BEAUTYrick owens vision
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BEA
UTY
CAN
CO
NFU
SE
//
It c
an m
ake
us d
ance
. Mak
e us
sad
. Bea
uty
can
be m
agic
al. B
eaut
y ca
n tr
ansf
orm
us.
It le
ts o
ur
soul
sing
, but
it ca
n ha
ve su
ch d
epth
that
you
don
’t ev
en n
otic
e it
at f
irst
, or e
ver.
Bea
uty
can
conf
use.
Alth
ough
ther
e ar
e so
me
gene
rally
acc
epte
d st
anda
rds
of b
eaut
y, th
e co
ncep
t its
sel
f has
al-
way
s be
en th
e su
bjec
t of g
reat
deb
ates
and
con
trad
icti
ons.
T
he s
ame
defi
niti
on fo
r be
auty
ha
s ne
ver
been
em
brac
ed b
y ev
eryo
ne, e
ithe
r be
caus
e of
cul
tura
l di
ffer
ence
s, o
r, ev
en i
n th
e sa
me
cultu
re, b
ecau
se o
f th
e di
ffer
ent
esth
etic
tas
tes
that
peo
ple
have
, and
it
is q
uite
pr
obab
le th
at th
is w
ill n
ever
hap
pen.
It is
ther
efor
e sa
fe to
say
that
it is
a m
atte
r of
per
sona
l pr
efer
ence
s, a
nd th
at b
eaut
y lie
s in
the
eye
of th
e be
hold
er. T
his
is w
hy fa
shio
n ha
s s
uch
a br
oad
rang
e of
sty
les.
Whi
le tr
ends
pla
y an
impo
rtan
t par
t of e
very
sea
son,
des
igne
r’s ta
stes
an
d ph
ilosp
hies
can
var
y va
stly
. Som
e em
brac
ing
the
idea
l for
m o
f bea
uty
and
othe
rs w
ant-
ing
noth
ing
to d
o w
ith
the
conv
enti
onal
val
ues.
The
latt
er c
an b
e di
stur
bing
and
con
side
red
dist
aste
ful t
o m
ost,
but f
or th
ose
who
dar
e to
bre
ak a
way
from
the
norm
and
que
stio
n th
ese
valu
es a
long
wit
h th
e de
sign
er ‘s
vis
ion
it c
an b
e a
tran
sfor
mat
ive
proc
ess.
//
_THE CULT OF BEAUTYrick owens vision
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Beauty is the eyes of the beholder
Beauty is the eyes of the beholder
What if the beholder was someone dark and uncon-ventional? What if the beholder appreciated the true essence of beauty so much that he wanted to deconstruct every ounce of it? What if the beholder was none other than Rick Owens? ?
Welcome to a world of darkness, a world where ugly is beautiful, a world that seeks to empower through the unconventional use of fabrics, shapes and sil-houettes. A vision that is not for all but a vision that pushes the limits of beauty and welcomes anyone who dares to join. Welcom to the cult of beauty.
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f
c
fugly can bebeautiful
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-Imperfection can sometimes be the most in-teresting thing about people and life, but that which is imperfect is rarely called beauty.
A renegade figure in the fashion world, Rick Ownes became a force for change by melding an emphatically dark sensibility with a penchant for glamour and an un-expected lightness of touch. He placed his distinctive stamp on fashion with a highly theatrical, Goth-inflect-ed silhouette that, despite its apparent toughness and severity, remains supple and eminently wearable.
If you are distinguishing between clothing and high fashion, between the stuff we wear and the ideas that challenge and inspire us, Rick Owens surely belongs on the outermost edge of fashion. His transgender shapes, his almost alien palette, his tough and blithe use of stacked heels for men are unlike anything else. The quintessential style is founded on weathered fab-rics, bias cuts and asymmetric shapes that mold and drape to flatter a variety of body types. His signature biker jacket, made of crinkled leather with high shoul-ders and attenuated sleeves has become the sartorial insignia of debutantes and drag queens, rock stars and legions of would be rebels.
His style has been described as glamour-meets-grunge, but Mr. Owens himself has said of his subtly luxurious designs, “I try to make clothes the way Lou Reed does music, with minimal chord changes, and direct.” The style is sweet but kind of creepy, he said. It’s about giv-ing everything a worn, softened feeling. It’s about an elegance being tinged with a bit of the barbaric, the sloppiness of something dragging and the luxury of re-ally just not caring one bit.
However, don’t let the distressed leather, exposed hard-ware, and black-centric palette fool you: The Ameri-can-born, Paris-based designer is not a one-note goth. On the contrary, he is an avant-garde romantic with a knack for highlighting the beauty of imperfections. It’s a talent well suited to his savagely sophisticated rock couture. Owens’ asymmetrical dresses; long, clingy T-shirts; and embellished outerwear have been seen on hard/soft types like Courtney Love and Madonna, and the designer’s fan club buys up his clothes with a cult like alacrity. Something any designer would love.
It is this passionate following that has crowned him the king of dark fashion. He has summoned a cult of beau-ty unlike any other that can be witnessed on the run-ways of Paris or New york. The style is sweet but kind of creepy, he said. It’s about giving everything a worn, softened feeling. It’s about an elegance being tinged with a bit of the barbaric, the sloppiness of something dragging and the luxury of not caring.
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//
IN A WORLD WHERE CREEPY
&beautifulCAN CO-EXIST
THERE ARE NOlimits.
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_THE CULT OF BEAUTYrick owens vision
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-Meet Rick Owens’ vision
-A renegade figure in the fashion world, Rick Ownes became a force for change by melding an emphati-cally dark sensibility with a penchant for glamour and an unexpected lightness of touch. He placed his distinctive stamp on fashion with a highly theatri-cal, Goth-inflected silhouette that, despite its ap-parent toughness and severity, remains supple and eminently wearable.
If you are distinguishing between clothing and high fashion, between the stuff we wear and the ideas that challenge and inspire us, Rick Owens surely belongs on the outermost edge of fashion. His trans-gender shapes, his almost alien palette, his tough and blithe use of stacked heels for men are unlike anything else. The quintessential style is founded on weathered fabrics, bias cuts and asymmetric shapes that mold and drape to flatter a variety of body types. His signature biker jacket, made of crinkled leather with high shoulders and attenuated sleeves has be-come the sartorial insignia of debutantes and drag queens, rock stars and legions of would be rebels.
His style has been described as glamour-meets-grunge, but Mr. Owens himself has said of his subtly luxurious designs, “I try to make clothes the way Lou Reed does music, with minimal chord changes, and direct.” The style is sweet but kind of creepy, he said. It’s about giving everything a worn, softened feeling. It’s about an elegance being tinged with a bit of the barbaric, the sloppiness of something dragging and the luxury of really just not caring one bit.
However, don’t let the distressed leather, exposed hardware, and black-centric palette fool you: The American-born, Paris-based designer is not a one-note goth. On the contrary, he is an avant-garde romantic with a knack for highlighting the beauty of imperfections. It’s a talent well suited to his sav-agely sophisticated rock couture. Owens’ asymmet-rical dresses; long, clingy T-shirts; and embellished outerwear have been seen on hard/soft types like Courtney Love and Madonna, and the designer’s fan club buys up his clothes with a cult like alacrity. Something any designer would love.
It is this passionate following that has crowned him the king of dark fashion. He has summoned a cult of beauty unlike any other that can be witnessed on the runways of Paris or New york. The style is sweet but kind of creepy, he said. It’s about giving everything a worn, softened feeling. It’s about an elegance being tinged with a bit of the barbaric, the sloppiness of something dragging and the luxury of not caring.
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“That is why he is known as the king of dark fashion.”
//
_THE CULT OF BEAUTYrick owens vision
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rick
owens
vision -
Lor
em ip
sum
dol
or s
i am
et, s
it o
ffen
dit a
rgum
entu
m e
t, ne
mor
e im
petu
phi
loso
phia
vix
ei,
et n
ec h
inc
debi
tis
peri
culis
. Nec
ne
suas
cet
ero
repr
imiq
ue. E
ros
labo
res
invi
dunt
has
id-
suro
Fac
er n
omin
avi s
uavi
tate
ut d
uo,il
lud
grae
ce h
as n
o. A
d ea
m st
et te
mpo
r opo
rtea
t sit
ex-
habe
o la
bore
, ex
solu
t gra
eco.
Lor
em ip
sum
dol
or s
it a
met
, con
sect
etue
r ad
ipis
cing
elit
, sed
di
am n
onum
my
nibh
eui
smod
tin
cidu
nt u
t la
oree
t do
lore
mag
na a
liqua
m e
rat
volu
tpat
. Ut
wis
i eni
m a
d m
inim
ven
iam
, qui
s no
stru
d ex
erci
tati
on u
llam
corp
er s
usci
pit l
obor
tis
nisl
ut
aliq
uip
ex e
a co
mm
odo
cons
equa
t.
Dui
s au
tem
vel
eum
iriu
re d
olor
in h
endr
erit
in v
ulpu
tate
vel
it e
sse
mol
esti
e co
nseq
uat,
vel
illum
dol
ore
eu fe
ugia
t nu
lla f
acili
sis
at v
ero
eros
et
accu
msa
n et
iust
o od
io d
igni
ssim
qui
bl
andi
t pra
esen
t lup
tatu
m z
zril
dele
nit a
ugue
dui
s do
lore
te fe
ugai
t nul
la fa
cilis
i. N
am li
ber
tem
por
cum
sol
uta
nobi
s el
eife
nd o
ptio
n co
ngue
nih
il im
perd
iet
dom
ing
id q
uod
maz
im
plac
erat
face
r po
ssim
ass
um. T
ypi n
on h
aben
t cla
rita
tem
insi
tam
; est
usu
s le
gent
is in
iis
qui
faci
t eor
um c
lari
tate
m. I
nves
tiga
tion
es d
emon
stra
veru
nt le
ctor
es le
gere
me
lius
quod
ii le
-gu
nt s
aepi
us. C
lari
tas
est e
tiam
pro
cess
us d
ynam
icus
, qui
seq
uitu
r m
utat
ione
m c
onsu
etud
i-um
lect
orum
. Mir
um e
st n
otar
e qu
am li
tter
a go
thic
a, q
uam
nun
c pu
tam
us p
arum
cla
ram
, an
tepo
suer
it li
tter
arum
form
as h
uman
itat
is p
er se
acul
a qu
arta
dec
ima
et q
uint
a de
cim
a. E
o-de
m m
odo
typi
, qui
nun
c no
bis
vide
ntur
par
um c
lari
, fia
nt s
olle
mne
s in
futu
rum
.
//
_THE CULT OF BEAUTYrick owens vision
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