In the world of fashion, Thom Browne has once again left an indelible mark. His recent runway show at New York Fashion Week showcased an explicit tribute to the renowned poet, Edgar Allan Poe. Set in The Shed, a cultural center in Hudson Yards, this collection closed the fashion week on Valentine's Day with a dark and captivating aesthetic.
Unlike his previous couture debut in Paris, Browne's latest collection didn't veer into gothic territory. Instead, it remained elegant, timeless, and true to his signature elevated tailoring. While his name has become synonymous with the red, white, and blue ribbon, this time, Browne delved deep into the realm of black and white.
The runway itself was transformed into a wintery landscape, covered in a snow-like powder that added to the dramatic ambiance. Decorations reminiscent of Beetlejuice or a Siberian setting created a chilling and lonely vibe. It was a poetic space that resonated with the haunting melodies of avant-garde music icon Klaus Nomi.
But it was more than just a runway show; it had a narrative. The models didn't simply pass by the seated audience, but rather walked slowly and purposefully, even returning to the central trees of the set. This orchestrated movement created an arc of storytelling rarely seen on the runway, surpassing the usual robotic procession of models. Browne's ability to infuse depth into his shows is truly commendable.
The collection itself showcased elements of 19th-century fashion, including square necklines, cinched waists, and hints of the Empire style. It was a nod to the past, gracefully reintroducing these classic silhouettes to modern audiences.
Among the notable attendees at the front row were South Korean singer Seulgi, Havana Rose Liu, Rachel Brosnahan, Anna Wintour, and music legends Janet Jackson and Queen Latifah. The runway sparkled even brighter with Alex Consani's stunning gold ensemble, matched with gold lipstick that perfectly complemented the show's theme.
Oversized blazers, semi-translucent bags, and black and white tweed were some of the highlights of Browne's craftsmanship. Each item exuded impeccable attention to detail, while the hair team's braided horns added a touch of enchantment.
The collection's affinity for Poe's poem 'The Raven' was evident, with the phrase 'Nevermore' emblazoned on the backs of select garments. This choice raises the question of the significance of resurrecting a poem from 1845. Perhaps it serves as a reminder of the timeless wisdom found within the pages of books, encouraging us to disconnect from our devices and seek enlightenment elsewhere.
In this Nevermore universe we live in, fashion acts as a reflection of our darkness. Browne's show, despite being draped in Valentine's Day symbols, showed us this truth. It embraced chaos, unhinged creativity, and the potential for finding light within darkness. It was a juxtaposition that gave us hope.
Thom Browne's runway show was not only a high-art display but also an exploration of hope and creativity. It reminded us of the importance of depth in fashion. We can only anticipate what Browne will present next, hoping for another runway show that merges fashion and poetry.
