From Vionnet to Vermont, How 44-Year-Old Model Kirsten Owen Has Ruled the Runway Since the ′90s

Kirsten Owen in Heroine Magazine (Issue 3). Photography by Emma Summerton

A month ago, Kirsten Owen was closing the Vionnet show in Paris. Today, she’s pulling weeds in her Vermont backyard. “I’ve been given some blueberry bushes,” she says, “which I’m really happy about. But they require a lot of work.”

This particular work-life balance—let’s call it “farm with a side of stilettos”—isn’t new for the 44-year-old, who grew up in rural Ontario and now lives full-time in Vermont… when she’s not working in New York, Milan, or Tokyo. “I love being outdoors,” she says, “so it works for me.”

It works for the style set, too: Owen is one of the few ’90s supermodels who still works consistently today. In the past year, she’s walked for Prabal Gurung, posed in a Barneys campaign, shot two spreads for British Vogue, and—this week—stars on the cover of Heroine Magazine, shot by Emma Summerton. (Apparently, she’s also got a hell of a garden.)

We spoke with Owen about her recent work, her relationship with Helmut Lang, and the mean girls backstage at Prada…

In this Heroine shoot, all the clothes are your own—and they’re all vintage Helmut Lang. You were the face of their brand in the ‘90s. How many of their clothes do you still own?

A ton. I’m trying to count and I can’t. I have some here, some in Toronto, and some are stored away. I try to rotate the pieces so I’m not overwhelmed by my closet. I have about ten that I really cherish, and that I wear too much, and I worry they’re not going to last as long.

Did you just leave his fashion shows wearing the outfit from the runway?

No, but he used to pay [his models] in clothes. So when we’d go try the stuff on in the fittings, they’d say, “Oh, just pick out some clothes from last season that you like, and take them.” Or you could put stuff on hold that you’d wear in the show. Or, you know what? You could just ask really nicely if you liked something. A lot of designers won’t do that. They send you clothes with a bill! But whatever I wanted, [Helmut Lang] would just send to me. It was really great going to pick out the clothes, and you’d have this room full of samples.

Did Helmut and his team dress you for “real life”?

Not exactly, but [stylist] Melanie Ward would tell me to take things occasionally, because she knew they were great pieces. There was this one coat that she insisted I take, and I’m so glad she did, because it’s timeless. It’s a black wool coat with a hood, and with three khaki green stripes going around the bottom, horizontally. And I love that coat, still. It’s still going, but I’m not sure how much longer it’ll last. I’ve had it repaired several times. I worry about it!

You have a daughter and a son—but in Heroine, you say it’s your son who wears your old runway stuff?

Yes, and I love it!… I have these beautiful cotton Helmut pants that are way too big for me. I got them when I was 26. They have those beautiful knees like motorcycle pants. They’re padded at the knee, you know? And his own clothes, he’ll leave them on the floor, he doesn’t care. But these, he folds and puts in a safe place. It’s so sweet. He’s like, “I know, Mom, they’re your important pants.” At this point, though, they’re his important pants. They suit him better!

Kirsten Owen in Heroine Magazine (Issue 3). Photography by Emma Summerton

A lot of people think if you’re the muse to a fashion designer, you’re like best friends. Was that your relationship with Helmut?

I mean, we were never really close friends. We had a working, intuitive relationship—we didn’t really talk much. But we had a really nice rapport between us. It was just very silent in a nice way. And we worked together for a very long time, even after I had my children.

You went back to the runway fairly soon after your son was born, right?

When I had my son—he’s my first—I was living in Santa Fe New Mexico. I wasn’t expecting to go back to work… So I had a kid, and Helmut was like, “Can you come to Paris and do this show?” My son was a little baby. I was like, “Uh, sure, I guess?” I wasn’t expecting it to happen. So we got the little baby passport, and he came with me to Paris. He was backstage during the show.

How’d it go?

It was great. I felt so strong on the runway, too. Working for Helmut after I’d had my son was an eye-opener, I felt more grounded and more in tune with myself. And then I kept working.

You’re one of the biggest faces of ‘90s fashion. How do you feel seeing grunge channeled on the catwalks now?

Grunge is funny looking when it’s really styled out, right? Because that’s not what it was about. It’s not about looking perfect or looking “right,” you know what I mean? I’m looking really ‘90s right now, and I didn’t plan it. I’m wearing a flannel shirt, but it’s one that my parents’ friends left in my house! It’s practical and cozy. And isn’t that what ‘90s grunge was really about?… So when you see it all done up, it looks goofy. As soon as you see that the pants are rolled up perfectly—or they’re sewn that way [on purpose]—it’s like a costume. But that’s why I love being up here in Vermont. You can just dress casual and nobody cares. It’s practical.

My goddaughter loves her Doc Marten boots…

My daughter had a pair of those, too but I’m not going to laugh or say anything. I think those kids hate it when grown-ups comment on their clothes. The only time I’ll say something is if her skirt is too short. I think that’s more of an issue these days.

Do you feel differently about fashion and its effects on body image now that you have a daughter?

To me, it’s a great thing to have to care about using your body in a good way. Because then you have to be healthy and strong, because that’s part of your work. So I think I’ve been able to set a good example for her in that way. I’m really into being healthy. I always have been… She looks to me as a role model, and I think I’ve been a good role model. I’ve always made a point of eating well and exercising. I believe in taking care of our bodies, not to look good but just to make everything else in our lives function. If you want to blame fashion for an unhealthy lifestyle, you’ll have to blame the other models! Just kidding.

Kirsten Owen on the cover or Heroine Magazine (Issue 3). Photography by Emma Summerton

You’re 44 and still in supermodel shape. What’s your routine?

I really like to bike, so when I have errands, I try to do them on my bike instead of a car… I also love running. It’s really challenging. I never thought I could do it, but I picked it up about a year ago and I’m really into it. When I’m not doing that kind of stuff, I stay at home doing squats.

Squats?!

As you get older, I think it’s really good to get up and down a lot. And I used to have a gym membership, but a year ago, honestly, I stopped going. I realized anything I was doing there—core workouts, weights—I could do in my house, and on my bike. But the minute I stop keeping up with my exercises, I get in a funky mood. I don’t feel good. So the routine is just as important as what I’m doing, I think.

You’re on the cover of Heroine magazine. Do you have a favorite heroine?

Off the top of my head, there’s this image of [French sculptor] Louise Bourgeois photographed by a friend of mine’s husband in Sweden. He took this picture of her for a newspaper in Sweden and gave it to me. I remembered how much i loved it when I first saw it, because she’s so beautiful, and she has so many wrinkles. This photo was taken not long before she died. She has such a mischievous expression and she’s just shining, you know? Her face has so many lines everywhere, and that’s something I find inspiring, you know? It makes me happy.

The press loves to talk about models like Kendall Jenner being bullied backstage. You’ve been backstage at hundreds of shows—does that really happen?

I remember moments feeling like I was in high school. Definitely. Girls actively picking on you and causing fights? That’s different. But I remember being backstage at Prada in the ‘90s. I won’t mention any names, but three girls were going in and out of the bathroom together. They were doing drugs. And you know that feeling of when you’re not included? And you don’t want to do [drugs] anyway, but you still feel bad about yourself?

Of course. It’s like, “You could at least talk to me.”

I’m a very shy person anyway with groups, so it was difficult for me sometimes. But then I had very good friends who were doing the same shows as me. So when we were doing 35 shows per week—like in Milan. It doesn’t even seem possible, but that’s what we did. And because I was with my friend Stella Tennant, we had the best time. We were always backstage together. And before her, it was Cecilia Chancellor. We used to giggle all the time. But that time at Prada, I wasn’t with my buddies. And that can make you anyone feel really left out.

But now when you’re backstage—

Yeah, I don’t feel like that anymore!

Can I ask you a super Fan Girl question?

Sure. Is it weird?

No, it’s just nostalgic. Didn’t you walk for Stella McCartney’s first show at Chloé, when she and Phoebe Philo were still working together? What was it like working with them together? And working on that Chloé collection?

Wow. Okay, I remember going to the fitting, and Phoebe and Stella were just very easy and cool. They made sure their atmosphere was really relaxed, and I remember that very clearly because I knew it was a good sign. And I remember when I was walking in that show, I felt really, really good. I have this very vivid memory of walking the runway and feeling amazing. I remember feeling, “Wow, I look so beautiful in these clothes!”

But being beautiful is your job!

But you get put in clothes. Your job is to look like you feel beautiful. But you have to fake it a lot!

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