Latest news with #CommedesGarçonsHommePlus
New York Times
16-03-2025
- Entertainment
- New York Times
When Brands Need a Truly Wild Shoe, They Hire This Man
Like the tagline of a horror movie, the shoes … had teeth. At the Japanese label Doublet's fashion show in Paris this January, models tramped out in dress shoes with their toes angled upward, like the ajar maw of a bass at feeding time. At the top and bottom of this flapping cavity were puny metallic teeth. Inside, the surface was polished tongue red. 'Monster shoes' is how Shintaro Yamamoto, the designer of these wide-mouth wonders, described them. (They looked, to my eyes, like infant-scaled versions of the sandworms from 'Beetlejuice.') Mr. Yamamoto, 50, of Tokyo, is the footwear Dr. Frankenstein behind the most form-shattering, smirk-inducing dress shoes in recent memory. In collaboration with Comme des Garçons Homme Plus, he has made derbies with two uppers stacked on top of each other, like a double-decker bus, and combat boots with toes pointed straight up in the air at perfect 90-degree angles. At his own label, Kids Love Gaite, he has made shoes with white skeleton bones painted on the cap and ones with an extra leather sliver sandwiched in the sole and protruding out the front, like a curled-up tongue. 'These days, I always think I don't have to be in the orthodox style,' said Mr. Yamamoto, who started Kids See Gaite in 2008. 'I can think more free.' The quest for freedom has been a common motif in Mr. Yamamoto's life. As a teenager, his parents sent him to boarding school in the south of England. It did not suit him, so he dropped out and wandered up to London, where he became smitten by the work of John Moore, a shoe designer who, in the late 1980s, started the short-lived, very cultish House of Beauty and Culture. The look of HOBAC, as it was known, was very vagabond chic. Mr. Moore's shoes were hard bottoms with straps shooting off them and toes that were squared off, as if chopped down with a meat cleaver. They shattered stodgy conventions of how shoes 'should' look. Though Mr. Yamamoto arrived in London after Mr. Moore's death in 1989, he fell in with Daita Kimura, a cobbler in the spirit of Mr. Moore. Mr. Yamamoto assisted Mr. Kimura at his shop, learning the trade before returning to Tokyo in 2000. Back in Tokyo, Mr. Yamamoto eventually began making his own shoes for the Japanese market with Kids Love Gaite — shoes that did not always capture his punkish streak. During a video interview from his office in Tokyo, Mr. Yamamoto, who has swooping rockabilly hair and a gray-flecked goatee and was framed by a Sex Pistols poster and one from the brainy British art duo Gilbert & George said that only in the last handful of years had he 'started putting my identity into the shoes.' Doing so has led to some wondrous and wild shoes. His design portfolio captures a man who is constantly asking 'why not?' The doubled-up shoes that he invented for Comme des Garçons came to him after looking at a shirt from the label that brandished two sleeves on either side. Why not, he thought, try the same with shoes? The L-angle combat boot, which was featured in the Comme des Garçons Homme Plus collection titled 'War is Hell,' was his way of expressing a combat boot that had met its demise. (It was also, he said, a nod to his cobbling roots. The boot's squared-off technique was derived from John Moore's Hog Toe shoes, a pair of which he keeps close at hand in his office. During our interview, he brandished the shoes to spotlight their leveled-off toe.) 'I was struck by how he could take a two-dimensional sketch on paper and turn it into such a highly perfected three-dimensional object,' Ino Masayuki, the designer of Doublet, wrote via email. He has worked on two shoe designs with Mr. Yamamoto. Mr. Masayuki said that he gave Mr. Yamamoto 'just one small idea,' and that the shoemaker let his imagination run. For the teeth shoes, Mr. Masayuki was thinking about how in horror movies 'everyday objects like jeans, refrigerators or even condoms grow fangs and attack people.' Mr. Yamamoto had the skills to turn this campy concept into a laceable commercial product. 'He respects the tradition of leather shoes while constantly evolving them,' Mr. Masayuki said. Mr. Yamamoto's curious collaborations are produced, at least partly, by hand. Producing the Doublet teeth shoes required him to hand-stitch the upper 'jaw' so that it always stayed open. Early iterations of designs are also fabricated by hand. That handiwork means high prices. The doubled-up derbies sold for $2,700. A pair of regular (read: just one toe, not two) Kids Love Gaite lace-ups sell for about $700. The collaborations have taken his business to a new level. After seeing his work with Comme des Garçons, customers have come to realize that Mr. Yamamoto specializes in shoes that are out of the ordinary. And out of the ordinary, it seems, is what shoppers desire. He recently took his shoes to Paris for the first time to wholesale them internally, and he said the response was stronger than he could have imagined. After all this time letting his imagination run free, Mr. Yamamoto has perhaps come to think of his shoes as … conventional. When asked how he described what he made, he said, 'I would say leather shoes.' He's right — even if they have teeth and are two shoes in one. A shoe is still a shoe.
CBC
30-01-2025
- Entertainment
- CBC
Fried hair, flushed cheeks and fine moustaches: Beauty trends from the Fall 2025 Men's Fashion Week shows
A new season of menswear shows have come to a close and, with a couple of exceptions — like the vampiric eyeliner at Emporio Armani — the lack of big names in Florence and Milan coincided with relatively safe hair and makeup on the runways there. Thus, the most interesting beauty and hair looks came from Paris, where they took nonchalance to another level with intentionally unruly, dry hair — and made the most of the details: matching nails, a judicious touch of blush or just a sprinkling of facial hair. Below are five trends that stood out on the Fall 2025 catwalks (one which requires nothing more than a little fresh air!). Curtains, for hair Oh, to be so blasé that you can't be bothered to brush the hair out of your face. At White Mountaineering, some models' hair was styled over their eyes, not quite obstructing their view. And those at Comme des Garçons Homme Plus wore wigs with long strands obscuring their eyes or bisecting their face. For Juun.J's collection, CoverUncover, the models' hair was styled loosely, covering half their face, and also sculpted over their eyes. On the whole, the looks were a little subversive and gave off an air of indifference. Another delightful idea that came out of the Fall 2025 shows is to match your nails to your outfit to round out a look. At Louis Vuitton, the models' nails were inspired by elements of the apparel: metallic gold to go with a gold bag; black and white to complement a black leather jacket and black bag with white lettering; and 3D flowers to echo the embellishments on a cardigan. A Feng Chen Wang model wore blue nails to go with a blue turtleneck, and others in the show also had painted nails to go with pops of blue from a bag, stripes or a layered piece. Further proof that our hands are the next frontier in men's grooming: the alien-like prosthetics Walter Van Beirendonck's models wore on their fingertips. Sharp moustaches The number of thin moustaches on the runway this season heralds a shift. Models are often barefaced, though some sport beards and every now and then a moustache — albeit usually fuller than what we're seeing now. Nowhere were sharp, sometimes angular moustaches more visible than at Willy Chavarria, where more than a dozen of the models had facial hair, ranging in style, shape and thickness. At 032c, a handful walked the runway with thin moustaches, which added either sophistication or edge. And the opening look at featured a model with a moustache, as did the third. A little facial hair can go a long way in creating a personal — and recognizable — look. Cold-bitten cheeks Many of us Canadians are used to seeing cheeks that are ruddy from the cold. To judge from some of the makeup choices on the Fall 2025 runways, people actually like this look. Emeric Tchatchoua lived in Montreal and would be intimately familiar with the cold winters. And he played up that theme with fake snow on the catwalk and with makeup. Some models had a faint shade of purple on their lips, while another had rosy cheeks. At Sean Suen, too, rosy cheeks coupled with winter wear gave the impression the models were cold. A little blush might augment it, but for many Canadians, all it'll take to recreate this runway look is stepping outside during the winter. Fried hair If you struggle with dry, frizzy hair, it may be time to embrace it. On the last day of Paris Fashion Week, Sacai's models looked as if they had either been zapped or spent hours under a blow-dryer, with straw-like hair, which looked completely devoid of any natural oils. It wasn't the first show where hairstylists had opted for this look. A number of models at Yohji Yamamoto's Fall 2025 show had particularly dry and frizzy hair. At Rick Owens, a model's hair jutted out in jagged lines, while at Feng Chen Wang, the wigs and natural hair looked like an ad for revitalizing shampoo taken to the extreme.
CNN
28-01-2025
- Entertainment
- CNN
Fashion mixes with politics at Paris Men's Fashion Week
As Paris Men's Fashion Week kicked off — one day after the second inauguration of US President Donald Trump and amid the rising power of France's populist right — focusing on clothing might seem a touch frivolous. Yet throughout the week, designers demonstrated their ability to engage with a larger societal landscape; by addressing concerns about inclusivity, protection and freedom, the Fall-Winter 2025 season provided a stage to escape as well as ideas to navigate the current climate. From Willy Chavarria to EgonLab or Comme des Garçons Homme Plus, messages of unity and acceptance were sent down the runways. When the 'French population feels increasingly powerless in the face of the government, fashion's soft power, as an industry and an art, lies in its capacity to produce new discourses, images and impact other industries,' Carole Boinet, director of French cultural publication Les Inrockuptibles, told CNN. On the runways, workwear came back with a bang, reimagined and fused with contemporary wardrobes. As bearded models in plaid shirts, raw denim and lumberjack-inspired lines walked the Junya Watanabe runway, the figure of the hipster seemed to hail back to 2010, when the aesthetic permeated youth subcultures and became a global phenomenon. But it was 'good old workwear originally crafted for forestry workers,' as outlined in the show notes, that was on the Japanese designer's mind. With that, the collection reflected the season's running themes: the great outdoors and function in outerwear. At Louis Vuitton, men's creative director Pharrell Williams teamed up with Nigo, the designer of LVMH fashion stablemate Kenzo and founder of Japanese fashion brand A Bathing Ape, to co-design a collection that merged workwear and sportswear. Inspired by the practical wardrobes of engineers, chefs and gardeners, the clothing — including a double-breasted indigo blue denim jacket, a striped box-cut ensemble and a baby pink sleeveless blouson — were both elevated and practical. Inspired by Maurice Sendak's 1963 children's book, 'Where the Wild Things are,' Sacai founder and designer Chitose Abe, who has built a global business with her penchant for hybrid materials and oversized silhouettes, played with 'ideas of living in nature, untamed and unrestricted by convention.' She showed a collection of cocoon-shaped furry knitwear, some with exaggerated pockets, and also continued to create co-branded pieces with US workwear company Carhartt, which took the form of leather and puffer jackets in shades of dark brown and green. Throughout the week, designers used their platforms to make overt political and social statements. New York-based designer Willy Chavarria, a recent winner of the CFDA's Menswear Designer of the Year Award, brought his collection to Paris for the first time, to mark the tenth anniversary of his eponymous label. Shown in the baroque setting of the American Cathedral, his sculpted, reworked tailoring once again took inspiration from his Mexican-American background; they came in a palette of gold, plum and burgundy. As Chavarria explained to CNN, resilience and resistance was at the heart of his collection, as he sought to put forward a 'message of human dignity and equality.' He emphasized 'the importance of us coming together to preserve our rights as citizens, as immigrants, as LGBTQ people, as women, all of us who are very much under attack right now.' Florentin Glémarec and Kevin Nompeix, the creative duo behind the Paris-based gender-fluid label EgonLab, incorporated playful Victorian nods as they presented garments that challenged traditional masculinity. Backstage, the designers explained their focus on disenfranchised communities. 'Minorities are systematically attacked by new politics around the world,' they said, adding that amid what felt like 'a modern witch hunt,' they called for 'minorities to unite and fight inequality.' At Comme des Garçons Homme Plus, war was on the mind of Japanese fashion designer Rei Kawakubo, whose collection, named 'To Hell With War,' showcased deconstructed army staples, disheveled khaki uniforms and army boots. Models wore reimagined helmets adorned with flowers, reminiscent of the flower power movement of the 1960s and '70s, when protesters focused on positive values, such as peace and love, in their fight for freedom. Charles Jeffrey, founder and designer of London fashion label Charles Jeffrey Loverboy, drew inspiration from Berlin's Weimar Cabarets. With exaggerated stage makeup, homoerotic banana-shaped accessories and a peel-like effect on garments, deconstructed kilts and disheveled knitwear, the designer — who opened the show in heels and spoke to spectators via a microphone — sought to echo the label's roots in nightlife. For designer Jeffrey, it was 'an opportunity to make people come together… when we have right-wing governments saying, 'you are only two genders'…we are a multitude of things,' he told CNN ahead of the show. Some designers took a more introspective approach, focusing on the narratives embedded in clothing and tailoring details that might go amiss on camera. Dior's collection referenced the H-line created by its founder Christian Dior for Fall-Winter 1954-1955 – a controversial silhouette at the time as its flattened shape appeared, for some, unfeminine. In a cinematic setting, models descended with dramatic covered eyes, à la Stanley Kubrick's 1999 erotic psychological drama 'Eyes Wide Shut.' The collection also played with contrasting volumes from baggy male skirts to opera coats and dusted pink bows. Bianca Saunders, the first Black British designer to win the prestigious ANDAM fashion prize, looked at the tension between constraint and movement, and suppleness and rigor, Shirts were creased, trousers' seams were twisted and their ankles were knotted. . Citing Robert Longo's photography, which captures men and women in exaggerated, contorted movements, she said that she took inspiration from 'how very structural menswear is pushed and pulled, all that subtlety of twisting things… capturing movement and slowness in the garment.' Craftsmanship and experimentation also took center stage at Rick Owens' show at the Palais de Tokyo. True to form, Owens distorted and exaggerated body shapes while radically playing with techniques and textures — see the 'dracucollar' jackets in wax-drummed leather, 'megacrust' jeans, a crusted effect achieved by pressing bronze foil and wax onto denim, and even kemp fibers – an eco-friendly and subversive material also known as 'dead hair'. As it often is with Owens, fashion knows no bounds.
CNN
28-01-2025
- Entertainment
- CNN
Fashion mixes with politics at Paris Men's Fashion Week
As Paris Men's Fashion Week kicked off — one day after the second inauguration of US President Donald Trump and amid the rising power of France's populist right — focusing on clothing might seem a touch frivolous. Yet throughout the week, designers demonstrated their ability to engage with a larger societal landscape; by addressing concerns about inclusivity, protection and freedom, the Fall-Winter 2025 season provided a stage to escape as well as ideas to navigate the current climate. From Willy Chavarria to EgonLab or Comme des Garçons Homme Plus, messages of unity and acceptance were sent down the runways. When the 'French population feels increasingly powerless in the face of the government, fashion's soft power, as an industry and an art, lies in its capacity to produce new discourses, images and impact other industries,' Carole Boinet, director of French cultural publication Les Inrockuptibles, told CNN. On the runways, workwear came back with a bang, reimagined and fused with contemporary wardrobes. As bearded models in plaid shirts, raw denim and lumberjack-inspired lines walked the Junya Watanabe runway, the figure of the hipster seemed to hail back to 2010, when the aesthetic permeated youth subcultures and became a global phenomenon. But it was 'good old workwear originally crafted for forestry workers,' as outlined in the show notes, that was on the Japanese designer's mind. With that, the collection reflected the season's running themes: the great outdoors and function in outerwear. At Louis Vuitton, men's creative director Pharrell Williams teamed up with Nigo, the designer of LVMH fashion stablemate Kenzo and founder of Japanese fashion brand A Bathing Ape, to co-design a collection that merged workwear and sportswear. Inspired by the practical wardrobes of engineers, chefs and gardeners, the clothing — including a double-breasted indigo blue denim jacket, a striped box-cut ensemble and a baby pink sleeveless blouson — were both elevated and practical. Inspired by Maurice Sendak's 1963 children's book, 'Where the Wild Things are,' Sacai founder and designer Chitose Abe, who has built a global business with her penchant for hybrid materials and oversized silhouettes, played with 'ideas of living in nature, untamed and unrestricted by convention.' She showed a collection of cocoon-shaped furry knitwear, some with exaggerated pockets, and also continued to create co-branded pieces with US workwear company Carhartt, which took the form of leather and puffer jackets in shades of dark brown and green. Throughout the week, designers used their platforms to make overt political and social statements. New York-based designer Willy Chavarria, a recent winner of the CFDA's Menswear Designer of the Year Award, brought his collection to Paris for the first time, to mark the tenth anniversary of his eponymous label. Shown in the baroque setting of the American Cathedral, his sculpted, reworked tailoring once again took inspiration from his Mexican-American background; they came in a palette of gold, plum and burgundy. As Chavarria explained to CNN, resilience and resistance was at the heart of his collection, as he sought to put forward a 'message of human dignity and equality.' He emphasized 'the importance of us coming together to preserve our rights as citizens, as immigrants, as LGBTQ people, as women, all of us who are very much under attack right now.' Florentin Glémarec and Kevin Nompeix, the creative duo behind the Paris-based gender-fluid label EgonLab, incorporated playful Victorian nods as they presented garments that challenged traditional masculinity. Backstage, the designers explained their focus on disenfranchised communities. 'Minorities are systematically attacked by new politics around the world,' they said, adding that amid what felt like 'a modern witch hunt,' they called for 'minorities to unite and fight inequality.' At Comme des Garçons Homme Plus, war was on the mind of Japanese fashion designer Rei Kawakubo, whose collection, named 'To Hell With War,' showcased deconstructed army staples, disheveled khaki uniforms and army boots. Models wore reimagined helmets adorned with flowers, reminiscent of the flower power movement of the 1960s and '70s, when protesters focused on positive values, such as peace and love, in their fight for freedom. Charles Jeffrey, founder and designer of London fashion label Charles Jeffrey Loverboy, drew inspiration from Berlin's Weimar Cabarets. With exaggerated stage makeup, homoerotic banana-shaped accessories and a peel-like effect on garments, deconstructed kilts and disheveled knitwear, the designer — who opened the show in heels and spoke to spectators via a microphone — sought to echo the label's roots in nightlife. For designer Jeffrey, it was 'an opportunity to make people come together… when we have right-wing governments saying, 'you are only two genders'…we are a multitude of things,' he told CNN ahead of the show. Some designers took a more introspective approach, focusing on the narratives embedded in clothing and tailoring details that might go amiss on camera. Dior's collection referenced the H-line created by its founder Christian Dior for Fall-Winter 1954-1955 – a controversial silhouette at the time as its flattened shape appeared, for some, unfeminine. In a cinematic setting, models descended with dramatic covered eyes, à la Stanley Kubrick's 1999 erotic psychological drama 'Eyes Wide Shut.' The collection also played with contrasting volumes from baggy male skirts to opera coats and dusted pink bows. Bianca Saunders, the first Black British designer to win the prestigious ANDAM fashion prize, looked at the tension between constraint and movement, and suppleness and rigor, Shirts were creased, trousers' seams were twisted and their ankles were knotted. . Citing Robert Longo's photography, which captures men and women in exaggerated, contorted movements, she said that she took inspiration from 'how very structural menswear is pushed and pulled, all that subtlety of twisting things… capturing movement and slowness in the garment.' Craftsmanship and experimentation also took center stage at Rick Owens' show at the Palais de Tokyo. True to form, Owens distorted and exaggerated body shapes while radically playing with techniques and textures — see the 'dracucollar' jackets in wax-drummed leather, 'megacrust' jeans, a crusted effect achieved by pressing bronze foil and wax onto denim, and even kemp fibers – an eco-friendly and subversive material also known as 'dead hair'. As it often is with Owens, fashion knows no bounds.
CNN
28-01-2025
- Entertainment
- CNN
Fashion mixes with politics at Paris Men's Fashion Week
As Paris Men's Fashion Week kicked off — one day after the second inauguration of US President Donald Trump and amid the rising power of France's populist right — focusing on clothing might seem a touch frivolous. Yet throughout the week, designers demonstrated their ability to engage with a larger societal landscape; by addressing concerns about inclusivity, protection and freedom, the Fall-Winter 2025 season provided a stage to escape as well as ideas to navigate the current climate. From Willy Chavarria to EgonLab or Comme des Garçons Homme Plus, messages of unity and acceptance were sent down the runways. When the 'French population feels increasingly powerless in the face of the government, fashion's soft power, as an industry and an art, lies in its capacity to produce new discourses, images and impact other industries,' Carole Boinet, director of French cultural publication Les Inrockuptibles, told CNN. On the runways, workwear came back with a bang, reimagined and fused with contemporary wardrobes. As bearded models in plaid shirts, raw denim and lumberjack-inspired lines walked the Junya Watanabe runway, the figure of the hipster seemed to hail back to 2010, when the aesthetic permeated youth subcultures and became a global phenomenon. But it was 'good old workwear originally crafted for forestry workers,' as outlined in the show notes, that was on the Japanese designer's mind. With that, the collection reflected the season's running themes: the great outdoors and function in outerwear. At Louis Vuitton, men's creative director Pharrell Williams teamed up with Nigo, the designer of LVMH fashion stablemate Kenzo and founder of Japanese fashion brand A Bathing Ape, to co-design a collection that merged workwear and sportswear. Inspired by the practical wardrobes of engineers, chefs and gardeners, the clothing — including a double-breasted indigo blue denim jacket, a striped box-cut ensemble and a baby pink sleeveless blouson — were both elevated and practical. Inspired by Maurice Sendak's 1963 children's book, 'Where the Wild Things are,' Sacai founder and designer Chitose Abe, who has built a global business with her penchant for hybrid materials and oversized silhouettes, played with 'ideas of living in nature, untamed and unrestricted by convention.' She showed a collection of cocoon-shaped furry knitwear, some with exaggerated pockets, and also continued to create co-branded pieces with US workwear company Carhartt, which took the form of leather and puffer jackets in shades of dark brown and green. Throughout the week, designers used their platforms to make overt political and social statements. New York-based designer Willy Chavarria, a recent winner of the CFDA's Menswear Designer of the Year Award, brought his collection to Paris for the first time, to mark the tenth anniversary of his eponymous label. Shown in the baroque setting of the American Cathedral, his sculpted, reworked tailoring once again took inspiration from his Mexican-American background; they came in a palette of gold, plum and burgundy. As Chavarria explained to CNN, resilience and resistance was at the heart of his collection, as he sought to put forward a 'message of human dignity and equality.' He emphasized 'the importance of us coming together to preserve our rights as citizens, as immigrants, as LGBTQ people, as women, all of us who are very much under attack right now.' Florentin Glémarec and Kevin Nompeix, the creative duo behind the Paris-based gender-fluid label EgonLab, incorporated playful Victorian nods as they presented garments that challenged traditional masculinity. Backstage, the designers explained their focus on disenfranchised communities. 'Minorities are systematically attacked by new politics around the world,' they said, adding that amid what felt like 'a modern witch hunt,' they called for 'minorities to unite and fight inequality.' At Comme des Garçons Homme Plus, war was on the mind of Japanese fashion designer Rei Kawakubo, whose collection, named 'To Hell With War,' showcased deconstructed army staples, disheveled khaki uniforms and army boots. Models wore reimagined helmets adorned with flowers, reminiscent of the flower power movement of the 1960s and '70s, when protesters focused on positive values, such as peace and love, in their fight for freedom. Charles Jeffrey, founder and designer of London fashion label Charles Jeffrey Loverboy, drew inspiration from Berlin's Weimar Cabarets. With exaggerated stage makeup, homoerotic banana-shaped accessories and a peel-like effect on garments, deconstructed kilts and disheveled knitwear, the designer — who opened the show in heels and spoke to spectators via a microphone — sought to echo the label's roots in nightlife. For designer Jeffrey, it was 'an opportunity to make people come together… when we have right-wing governments saying, 'you are only two genders'…we are a multitude of things,' he told CNN ahead of the show. Some designers took a more introspective approach, focusing on the narratives embedded in clothing and tailoring details that might go amiss on camera. Dior's collection referenced the H-line created by its founder Christian Dior for Fall-Winter 1954-1955 – a controversial silhouette at the time as its flattened shape appeared, for some, unfeminine. In a cinematic setting, models descended with dramatic covered eyes, à la Stanley Kubrick's 1999 erotic psychological drama 'Eyes Wide Shut.' The collection also played with contrasting volumes from baggy male skirts to opera coats and dusted pink bows. Bianca Saunders, the first Black British designer to win the prestigious ANDAM fashion prize, looked at the tension between constraint and movement, and suppleness and rigor, Shirts were creased, trousers' seams were twisted and their ankles were knotted. . Citing Robert Longo's photography, which captures men and women in exaggerated, contorted movements, she said that she took inspiration from 'how very structural menswear is pushed and pulled, all that subtlety of twisting things… capturing movement and slowness in the garment.' Craftsmanship and experimentation also took center stage at Rick Owens' show at the Palais de Tokyo. True to form, Owens distorted and exaggerated body shapes while radically playing with techniques and textures — see the 'dracucollar' jackets in wax-drummed leather, 'megacrust' jeans, a crusted effect achieved by pressing bronze foil and wax onto denim, and even kemp fibers – an eco-friendly and subversive material also known as 'dead hair'. As it often is with Owens, fashion knows no bounds.
