Thom Browne Fall 2018
Like a trip to the Louvre, Thom Browne's Fall 2018 runway did not fail to amaze and irk. Browne's fashion and art always makes three absolute statements: He knows the body, he is tailoring master, and he will present fashion in a well curated and thoughtful way.
Not unlike precious object d' art models posed lining the salon at Hotel-de-Ville, gazing onto a platform dividing the runway with art-easels, each decorated with their own somewhat blank canvas. The models were the artists and the clothing the art, they stood in front of blank canvases.
The room became quiet and the lights were dimmed, a je ne sais quoi Madonna soundtrack was played as the models began entering the space: wearing billowing pants, and matching coats. An eye-catching styling element was the cone like hair in Thom Browne's signature tri-colour. Browne is known for tailoring clothes to another level, for fall 2018 the skirts had many layers that are pieced together via suspension. IRK was captivated by artistry of this collection's corsets and ribbing adding new dimension and structuring to the garments crafted in felt materials. The collection had a Gilded Age quintessence, a nod to 19th century fit and elegance.
Thom Browne's runway show resembled a 'master class with a masterpiece creation' being crafted in front of the viewer. The skirts … which seemed to be crafted from ribbons, similar to paper-mâché creations resembling the marble busts of a Venus. IRK was also took note of the embroidery seen on felt dresses outlining the female silhouette continuing a sculptural theme.
Did I mention the last look? Big, Grey, Flowers, Hooded, accompanied by Thom Browne’s men-in-grey their suits and velvet dog masks, tied on leashes, lead the last and final look down the runway. The model in her grey-felt-flowery gown owned those doggie-Browne-boys, in a way that I can’t even hold onto my own pair of shoes. It was powerful and it was beautiful.