In a daring convergence of print and immersive installation, Rick Owens asserts full authorship by launching his new book alongside the ‘Temple of Love’ exhibition at Paris’s Palais Galliera.
Rick Owens has orchestrated a rare convergence of publication and installation to seize authorship of his own legacy. The hardcover volume ‘Temple of Love’, published by Rizzoli, positions itself as more than a lookbook. On its cover appears a portrait of Michèle Lamy, the designer’s wife, introducing readers to the intimate partnership that shapes his vision. Essays by Miren Arzalluz and Alexandre Samson of Palais Galliera frame Owens’s evolution from the draped silhouettes of 1990s Los Angeles to his most abstract constructions. Contributions from Owens and his partner guide the reader through image-rich spreads that eschew QR codes and trendy pull quotes in favour of a deliberate engagement with each page.
At Palais Galliera the retrospective abandons a linear timeline in favour of constellations of garments, video installations and concrete furniture conceived as altars. Nearly one hundred looks are arranged by era rather than season, sequinned drapes wrap façade statues while cement benches punctuate gallery spaces, and every element bears Owens’s stamp, insisting there is no curatorial objectivity here, only his singular vision.
By releasing book and exhibition concurrently under the banner of ‘Temple of Love’, Owens bypasses external interpretation. He co-directs essays, design and display, transforming what could have been mere documentation into liturgy and demonstrating that true authorship remains the last luxury in a world awash in trend-driven product.
