When Thom Browne presented his first haute couture collection in Paris last summer, the designs came with a particularly American twist. For the designer’s second couture collection, he brought an equally groundbreaking approach to the City of Light: taking the original underpinnings of couture—the muslin toile silhouette—and bringing it to the forefront. His completed garments were rendered in the surreally stiff, off-white fabric.
The world of couture is often a mysterious one. Rarely do we get a peek at the inner workings of the secretive ateliers. Using muslin was a very Thom Browne way to peel back the curtain on the immaculate craft. The collection was a completed work-in-progress that had even the most jaded fashion fans nerding out on the details.
In lieu of conventional invitations, every guest received a muslin jacket with their names on it and was asked to wear it to the show for the most interactive experience—some, like Anna Wintour, complying despite the sweltering summer heat. The show opened with male models playing a game of mock tug-of-war in pristine pleated skirts and open blazers, before the first model stepped out in a sequin floor-length jacket, gold halo crown, and whistle-shaped bag.
The collection was most exciting when Browne pushed at the conventions of form. He created extensions of ruffled ridges with layers of gray and ivory along the shoulder and the hips, or the absolutely massive cocoon-like coat that floated off the model’s shoulders.
But nothing could compete with the final wedding dress worn by Anna Cleveland. A shimmering, tailored gown with buttons cascading from the neckline to the floor, the back overloaded with an explosion of textural monochromatic flowers and plants, called to themes of both life and decay. As Cleveland stopped in the middle of the runway, she turned theatrically to show the dress at all angles to the tune of a haunting Etenraku, a kind of a Japanese melody. It was a metaphor for the finished vs.
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