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How Rick Owens Decorates His Many Homes
Fashion designer Rick Owens, known for his imaginative gothwear, extends his creative vision into furniture design, a pursuit he began as a hobby with his wife, Michèle Lamy. This endeavor has evolved into a comprehensive collection featuring distinctive pieces such as antler chairs, bark tables, and marble plinths, initially showcased in their Palais Bourbon home in Paris and now documented in his book, *Rick Owens Furniture*. Owens’s SoHo store exemplifies this fusion of fashion and interiors, displaying rock crystal and camel hair-covered benches alongside geometric marble chairs, all crafted by him.
In an interview, Owens discusses the inspiration behind his furniture collection, explaining that it emerged from a desire to customize their living space. He views it as a collaborative 'hobby' with Lamy, a continuous conversation that eventually developed its own momentum. Their creative partnership involves a blend of styles: Lamy's organic approach complements Owens's more rigid aesthetic. While their design sensibilities are similar, their methods differ, leading to a dynamic process that, despite occasional heated discussions, consistently yields desired outcomes. Owens illustrates this by noting Lamy's inclination to support emerging artists versus his preference for antiques, which offer fewer variables.
The couple manages their differing outlooks by designating distinct design vibes for their homes. Their Paris residence is characterized by a warmer, more relaxed atmosphere, accommodating pets and frequent visitors. In contrast, their Venice home is designed with a severe, chilly aesthetic, featuring minimal furniture, exclusively Finnish Art Nouveau pieces. Owens highlights his particular attention to mundane objects, such as toilets, noting his disdain for plastic models in otherwise luxurious homes. His personal toilets are crafted from raw crystal, marble, or onyx, matching the bathroom wall materials.
Owens reflects on the evolution of his design aesthetic after living in both the United States and Europe. He describes Paris as 'curly,' rich in classicism and layered architecture, while New York is linear and sleek. Living in Europe deepened his appreciation for architectural severity, demanding a higher standard of poetry and abstraction, in contrast to the efficiency-driven environment of New York. His current interior taste merges elements of Art Deco institutional prisons, drawing inspiration from architects like Marcel Breuer and Le Corbusier, as well as Finnish Art Nouveau, Mayan temples, and religious buildings. He aims for proportions that inspire spiritual awe, deliberately incorporating a sense of 'crudeness' to rough up the refined elements.
Regarding the functionality of his furniture, Owens admits that his pieces are not conventionally 'livable' or 'cozy.' He describes them as solid, heavy, and difficult to move, implying a long-term commitment from their owners. He acknowledges that buyers often integrate a single piece into a more typical home, appreciating its aesthetic value rather than its practicality. Owens suggests that while practical furniture is essential, there is also a desire for living spaces to reflect established values and a certain formality, offering an alternative to widespread casualness.
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