I mean, if I'm talking about architecture, I like Robert Mallet-Stevens.
The quote by Rick Owens, "I mean, if I'm talking about architecture, I like Robert Mallet-Stevens," offers a glimpse into Owens’ aesthetic influences and his appreciation for modernist architecture. Owens, a renowned fashion designer known for his dark, sculptural, and minimalist designs, draws inspiration from architecture, particularly the bold, geometric forms of early 20th-century designers like Robert Mallet-Stevens. By mentioning Mallet-Stevens, Owens aligns himself with a design philosophy that emphasizes clarity, structure, and refined modernism.
Robert Mallet-Stevens was a prominent French architect and designer associated with the Art Deco and Modernist movements. His work is known for its sleek lines, rational composition, and interdisciplinary approach, often incorporating elements of film, interior design, and furniture. His architecture, such as the Villa Cavrois, reflects a blend of functionality and visual elegance—principles that resonate with Owens' fashion, which often features architectural silhouettes and a minimalist yet dramatic use of materials.
Owens’ comment, though casual in tone, reveals the depth of thought behind his creative process. Like Mallet-Stevens, Owens treats form and space as integral components of his designs. Both are interested in how structure communicates mood and meaning—whether through a building’s façade or a sharply tailored jacket. The mention suggests that Owens sees a parallel between fashion and architecture, where both disciplines shape human experience through physical design.
Ultimately, the quote illustrates how architectural inspiration can cross into fashion, guiding the way designers think about volume, texture, and proportion. By referencing Mallet-Stevens, Owens not only reveals his artistic lineage but also reaffirms that good design, regardless of discipline, is rooted in a deep understanding of form and function.
GLPhan gia long
This quote kind of makes me smile because it’s so straightforward. But it also makes me want to know more—why Mallet-Stevens and not someone else? Was it his precision? His clean lines? The cinematic quality of his spaces? Owens is known for his dark, sculptural fashion, so maybe there’s a shared sense of drama and control in both men’s work. I’d love to see a visual comparison between their styles.
DCdinh cung
I appreciate the casual tone of this quote—it shows how creative admiration doesn't always have to be academic. Still, it raises a question for me: is Owens pointing to a deeper cultural overlap between fashion and architecture? If so, what does Mallet-Stevens represent in that overlap? I think there’s a fascinating conversation to be had about how both fields express identity, structure, and even rebellion.
GDGold D.dragon
It’s cool that Owens brings up an architect in such a natural, almost throwaway way—it feels genuine. But I want to dig deeper: what does Owens see in Mallet-Stevens that makes him his go-to reference? Is it about the Bauhaus-adjacent style, or more the way his buildings frame movement and posture—kind of like fashion does? I’d love to hear Owens expand on how architecture informs his worldview.
PLHo Phuc Lam
Owens' comment feels offhand, but it actually reveals a lot. Mallet-Stevens isn’t as widely known as someone like Le Corbusier, so choosing him says something specific. Maybe Owens values that kind of refined modernism—less about ideology, more about sensuality and texture. I wonder, does Owens see architecture more as a visual and emotional language than a technical discipline? That would explain the connection to Mallet-Stevens’ cinematic aesthetic.
MTCao Minh Thien
This makes me wonder how architecture influences people outside the field—especially creatives like fashion designers. Owens clearly sees something compelling in Mallet-Stevens’ work, but what specifically? Is it about form, material, attitude? I’d be curious to explore how architectural philosophy can bleed into other disciplines. Does Owens view buildings the same way he views garments: as structured, sculptural, space-defining forms?