Ten looks 20 times for a total of 200 models, a sort of grand mass at the Palais de Tokyo for a frenetic, bubbling, almost enraged Fury Road like a saga, giving an almost stroboscopic effect of white on white. Pharaoh Akhenaten was back or the fall of an inhuman society, characterized by the loss of its cultural identity and its socio-economic complexity, decline of a civilization between war, epidemics and depopulation. A society collapsed in on itself which once again becomes more primitive in its clothing.

Akhenaten and the cult of Aten, no other, in more than three millennia of ancient Egypt, will have left such a controversial trace as this Egyptian symbol. At the height of the power of the pyramids, the pharaoh, considered a heretic, triggered a true cultural and religious revolution which still fascinates today with its audacity and its mysteries. Owens projects himself into this vision so realistic, but so dark, that he will use white to make us understand the power of his reflection.

Great mass of fashion, impressive in its intensity, and the designer, friend of the Funny, will appear at the end in black as if to tell us: we must play with white and black to make a nice harmony on the piano key. But, the scene becomes flame, and at midday, the sky the color of rusty iron will veil the stars, like the fear of death, in a flaming pyre. With his triumphant chariot of nymphs, Owens vibrates the wave of white flame to scatter us in the air.