It was odd and off-kilter yet bewitching. Credit for that goes partly to Nina Simone on the soundtrack (his notes said Owens listens to her every day), and partly to the robust-by-Owens’s-standards color palette, which included a plummy lavender, an acid yellow, and an old-fashioned shade of mauve. The evening looks at the end were fairly sensational: exuberantly swagged and draped long dresses topped by those worn-sideways vests, a spiral of fur planted below the neckline. Owens worked with Maison Lemarié, the Paris plumassier he collaborated with back when he was at Revillon, to create a trio of cloaks made from ostrich feathers knotted together end to end. They were fabulous. We’re with Owens. We’re on the side of joy.