Thom Browne RTW Fall 2018
March 10, 2018 - shirtdresses
Gray flannel. It’s a fabric of a everyday, bureau life, nine-to-five mundanity. In Thom Browne’s hands, it’s what conform dreams are done of. His are large and he has a ambition, persistence and world-class patternmaker to move them to life. For fall, he had a imagination to fill a grand gymnasium of a Hotel de Ville with 18 models dressed as painters desirous by Élisabeth Louise Vigée Le Brun, a 18th-century artist famed for her portraits of Marie Antoinette. They were dressed in Browne’s 18th-century meets 21st-century prophesy of his signature toony uniform — gray flannel pannier cropped pants and khaki jackets, their gray hair slicked into padded cone-shaped bouffants. They stood, paint brush in hand, in front of bullion root frames of Browne’s rarely unpractical sketches — arrangements of circles and squares that demeanour like garments to his eyes — of his stately ideas, done roughly wholly of gray flannel churned with silk moire and tulle.
On a element level, Browne chose a flannel as a unsentimental counterpoint to a tulle that fueled his anticipation paper to haute couture uncover final spring. Despite a fabric’s essential reputation, a tumble uncover was couture-level as well. The work and investment was remarkable. He framed a uncover around Vigée Le Brun, “what she would consider she would be wearing in a 21st century,” he pronounced during a preview during his new Paris bureau on Avenue Montaigne.
The account set adult for implausible loftiness reckoned with Browne’s absurdist clarity of humor. He apparently takes his work really severely and enjoys obsessing. Thus, a 4 models with bushy dachshund heads modeled after his dog Hector. But a uncover was no joke. The other girls strutted out to Madonna’s “Vogue” in creations that respected and emphasized construction, both God-given and man-made. Sculpted jackets and statuesque gowns were cut to prominence a bust and hips, some with comical anatomical tromp l’oeil — dots on a nipples, a flower over her garden and retro slip motifs — all in shades of gray. There were skirts cut to demeanour like exposed mill busts, a robe that resembled a marble sculpture and a illusory dress devised out of a components of pointy men’s tailoring — a jacket, a vest, a shirtdress and a coat. The treatments and embroideries are too many and heated to entirely list, though they were spectacular. One hulk hand-embroidered silk satin crawl several yards prolonged compulsory 18 group and 20 hours of work. “It’s a many costly crawl in a world,” he said. He wasn’t kidding.