IS the one to watch.
Having just shown at New York Fashion Week for the second
time, her NZFW showher fourth
to datedisplayed the young designers maturity, impeccable
taste and attention to detail that has propelled her to the forefront
of New Zealand fashion.
The collection focused on Owens strong signature
of juxtaposing soft draping with structural elements. Quilting that
resembled a Chesterfield couch stayed true to Owens love of
It heavily featured on jackets, pockets of dresses
and winter coats. A combination of draping and origami-precise pleating
created exaggerated shoulders on suiting, while stuffed lapels on
blazers were trimmed with braided piping.
Ruching, gathering and tucks on panels of dresses
were also key features. Eye-catching yet still wearable, each piece
could be easily integrated into an existing wardrobe or displayed
as works of art.
They seemed more art than fashion, more architectural
and interior-like than their purpose of actually clothing the body.
Stand-out pieces would be the floor-length crèpe de chine dress,
which could easily be transformed from day to night, and the red
riding coat jacket with contrasting black collar, amazing for its
warmth and colour.
There were the billowy silk harem pants in rust
red teamed with a sheer button down, the metallic foil-like cowl-neck
shirts (with fabric-covered buttons that could change the neckline),
and the devoré silk dress, gathered and tucked to create a tactile
textural quality to the dress-something soft enough to lay ones
head against perhaps?
Models walked down the runway with their faces covered
in an armour-like masks or gauzy head coverings giving an ethereal
touch, hauntingly beautiful beyond words. Although mostly muted,
the collections colours spanned soot to dove greys; burnt
sienna brown, inky blues and onyx black and were mixed back with
scarlet red, saffron gold, and aubergine.
Gossamer cottons, silks, metallic foils and brocades
mixed with winter wools created a uniquely sumptuous and decadent