Thom Browne’s debut at Paris Couture Week was a theatrical, melancholic extravaganza, with some arch humor bubbling under the uniformly gray surface.
During a preview, he had mused about his signature flannel suits invading the hallowed high-fashion arena. No kidding: There were 2,000 cardboard cutouts of men in gray suits seated in the Opéra Garnier when the curtain went up.
“Fade to Grey,” the ’80s hit by Visage about depression, set the narrative for the show, with Wek the protagonist, “thinking about her life, not being so happy,” Browne explained after the show. “And then her whole fantasy of what she thought was so much more interesting passing her by. And then in reality, she realizes her life is fine.”
“I wanted them to be pieces of clothing that people would invest in,” he said, describing how he applied extra intensive workmanship to his usual archetypes. He noted, for example, that one jacket and miniskirt were composed entirely of “crystal-clear crystal beads.…The color actually is the thread that is going through the beads.”
The shapes were repetitive, which made you focus on the quirky details: the 3D starfish embellishments, and gold whale-tail embroideries poking out of pockets.
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