We sat out in an open courtyard, waiting patiently to see what Thom Browne had into for us this time. Looking at the staging of about 40 pairs of silver shoes lined up neatly in front of us we knew somehow that models would be stepping into them. But how?
Then suddenly, it was like a scene out of the old Clash of the Titans (the one from 1981) where Harry Hamlin battled everyone and everything – man, animals and hybrids – in his quest for Medusa’s head to save Princess Andromeda. Two pairs of satyrs all painted in shiny silver makeup came out and after some gesturing towering over us, they settled in a corner of the courtyard.
Then the first model emerged and walked while holding up a silver tube that covered his entire body and head until each of the 40 models all found their silver shoes. In unison they dropped their silver tubes to reveal a spring collection of familiar silhouettes in a mixture of bright colors. Just watch to see what I mean:
Among the red/green/blue/yellow/teal combinations of plaids, stripes, whale and lobster embroideries, there were four discernible new shapes among the layered looks: Cropped jackets–both single and double-breasted–that came in sleeveless, short sleeved, or long sleeved variations and worn with shorts; and the same variations done on a coat.
In the past few seasons, Mr. Browne has been criticized for his extravagent productions. One season it was a cabaret at Maxims in Paris, the next was a spaceship landing inside the French Communist headquarters.
There are strict limits and boundaries in men’s clothes and Mr. Browne has always brought his imaginative narrative to the way he showed his clothes.
Like it or not, we are richer because Mr. Browne is taking a risk to entertain us over showing us the clothes he wants to sell. I’d rather be at a Thom Browne show any day than at any other men’s show.