Vader
Peeping Tom’s dance shoves certain motifs towards the very limits of acrobatics. Yet between bruised, nostalgic people, or people in love, the situations are deeply dramatic and expressed with feeling. This new piece develops the generic persona of the old father, his mythology, his prestige and his ridicule, his pitiable power deleted by gradual disintegration. It is an intensely human portrayal.

Spring Summer 2020
Rick Owens’ Bauhaus Aztec priestesses were some kind of bad-asses. Gliding around the Palais de Tokyo fountain, they presided over a ceremony of wands and bubbles while sporting chrome headdresses glinting like car hood ornaments. It was a kick. Owens was feeling nostalgic, as it turns out. Using blasts of Luis Barragán color, folkloric sequins and volumes with the grandiosity of couture, Owens mined his Mixtec heritage. (His mom, Connie, is Mexican, and his dad, John, worked in the public court system as a Spanish-English translator defending farm workers’ rights.)