Just as great composers like Handel and Rossini would repurpose and transform musical motifs, Owens reinterprets and refines themes across collections. The collection expresses this modularity, where pieces can transition from menswear to womenswear, creating a cohesive yet distinct wardrobe. This season, his signature exaggerated forms were subtly reworked: structured bombers, belted coats, and peplum-hem jackets appeared in gray flannel, while deconstructed chaps woven from laser-cut leather fringe introduced an element of raw craftsmanship. A standout was the leather bomber jacket lined in leather, not silk or nylon—an idea previously explored in his collaboration with Rimowa, where material transformation elevated a mundane object into high fashion.

Music played its usual central role, with Owens returning to “Mass Production” by Iggy Pop, the same song he used 23 years ago at his first New York show. The track, with its discordant yet hypnotic quality, mirrors Owens’ aesthetic—dissonant yet captivating. The collection itself followed this theme, with hoodies crafted from thin strips of natural rubber that rippled like gills as the models moved, and the now-iconic dracucollars emerged alongside sculptural outerwear. Owens’ exploration of contrast—raw and refined, sacred and profane—was further underscored by  the models wearing black contact lenses, his version of red lipstick, evoking vulnerability and intensity.