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RICK OWENS DOC MARTENS PLUS
RICK OWENS DOC MARTENS FULL
MARTENS BECAME A SYMBOL OF A RAW AND SWEATY VITALITY THAT I THOUGHT I MIGHT BE ABLE TO PULL OFF… AND FOR A MINUTE, I THINK I DID… COMING FULL CIRCLE TO PARTNER WITH DR. I SAW THEM ON ALL THE GUYS FLYING THROUGH THE AIR AT THE SHOWS I WENT TO THEN… FEAR… BLACK FLAG… THE SCREAMERS… ALIEN SEX FIEND… DR. MARTENS COLLAB AS AN EXAMPLE OF HOW ELEGANTLY REAL TRANSGRESSION – AND OUR INDIVIDUAL SEARCHES FOR TRANSCENDENCE – CAN BE.”Īdding to this, Owens also said: “WHEN I WAS A TEEN AND BECOMING PHYSICALLY AWARE, I SAW HOW A TIGHTLY LACED ANKLE LEADING TO A BROAD, SOLIDLY PLANTED FOOT HAD A SIMPLE, MODEST, INDUSTRIAL MASCULINITY – ALMOST LIKE A CORSET BETWEEN A MUSCLED CALF AND A STURDY FOOT THAT ACTED AS A STOIC BALLAST. HIS WORK SPEAKS TO THE ETERNAL PRIMITIVE IN ALL OF US AND TO OUR SHARED HUMAN EXPERIENCES – FEAR, SHAME, SEXUALITY, MORTALITY, AND FAITH – IN A TIMELESS TRADITION OF BLOOD RITUALS, FROM THE DRAMA OF HUMAN SACRIFICE ON MAYAN ALTARS TO A MESSIAH ON A CROSS TO CHILDBIRTH TO BLOOD TESTS TO OUR CURRENT WAR… I ASKED RON TO REPRESENT THIS DR. ALTHOUGH MINIMALLY SUPPORTED BY THE NATIONAL ENDOWMENT FOR THE ARTS, THIS PERFORMANCE BECAME PART OF THE POLITICAL DISCOURSE AND CONTROVERSY REGARDING WHICH ARTWORKS WERE SUITABLE FOR PUBLIC FUNDING. THE MOST CONTROVERSIAL OF HIS WORKS WAS HIS PRINTING PRESS PERFORMANCE, DURING WHICH HE CUT SYMBOLS INTO HIS FRIEND’S BACK, PRESSED PAPER TOWELS TO THEM, AND CLIPPED THE BLOOD PRINTS TO A PULLEY SYSTEM THAT HOISTED THEM OVERHEAD IN THE PERFORMANCE SPACE. THESE WORKS WERE CREATED DURING THE AIDS CRISIS WHEN ARTISTS WERE DEALING WITH THAT MOMENT OF DESPAIR WITH PHYSICAL DEMONSTRATIONS OF RAGE. HE BECAME A GOGO BOY AT CLUB FUCK, WHICH ATTRACTED THE HARDCORE PIERCING TECHNO SUBCULTURE THAT WAS STARTING TO EMERGE THEN, AND EVENTUALLY, HIS DANCING DEVELOPED INTO ACTIONS WHICH BECAME THE PERFORMANCE ARTWORK FOR WHICH HE IS KNOWN TODAY. RON WAS THE MOST BEAUTIFUL CREATURE I HAD EVER SEEN, AND I AM AFRAID I WAS QUITE SMITTEN.
“I HAVE KNOWN RON ATHEY SINCE THE 1980S WHEN OUR PATHS WOULD CROSS IN THE FILTHIEST L.A. Martens’ interview with the lauded designer:
To understand more about the collaboration - and why Owens chose Ron Athey to spotlight the boots - read up on Dr. To date, these two styles might be Owens’ most daring, bringing in more of his own house cues than ever before to the punk-informed British footwear brand. Naturally, heavy metal side-zips and laces long enough to wrap around both boot styles have been added for that quintessential iconoclastic Owens touch, while dual branding inside rounds things off. “Platinum”-hued hair-on leather has been used across the entire shoe, while the same widened eyelets hold “Pearl” laces in place all the way up the extended tongue (a detail that can also be found on the 1460). In complete contrast to this is the 1918 boot - an 18-eyelet calf-reaching style that leans deeply into Owens’ own footwear collection. A black sole unit appears in its typical form, but is elevated both hypothetically and literally with the addition of height, leading the eye to elements like the AirWair heel loop that’s finished in “Pearl” scripture, before yellow welt stitching decorates the sole unit. Starting with the 1460, Owens applies his usual darkness using a construction of soft yet heavyweight black “Lunar” leather, adding details like “Pearl” laces that have been threaded through extra-wide dull-silver eyelets.
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