Inside Thom Browne’s immersive Fall Ready-to-wear 2024 show

Being invited to a Thom Browne show means being welcomed into a modern world, surrounded by elaborate sets that seem otherworldly yet authentic. Attendees are treated to a display of intricately crafted edgy clothing and eye-catching, alluring shoes, as well as a theatrical performance. The audience consists of a select group of famous individuals, close acquaintances, and fashion enthusiasts, all transported into the imaginative world of the brand through the use of its signature blue, white, and red stripe.

Browne’s 2024 Fall show, held on February 14th, was an eerie and unique presentation. From the set design to the makeup, hair, and clothing, the entire show was a haunting interpretation of Edgar Allan Poe’s famous tale, The Raven. This was an interesting contrast to the typically warm and romantic atmosphere of Valentine’s Day. The 58-year-old designer and his team put together a collection featuring long overcoats with enlarged lapels, tweed accents, and accessories made from a dusty, jelly-like plastic material. Fabrics were also adorned with organic elements such as ravens and roses, and sheer stockings featured intricate detailing.

As I entered, a creepy atmosphere filled the fake snow-covered area inside The Shed in Manhattan. Thin trees were placed at the edges of the main room, where a man wearing an exaggerated puffer jacket with thin branches sticking out of his sleeves and on his head stood in the middle. Excitement filled the room as Anna Wintour, Janet Jackson, and Queen Latifah (the last three to arrive) took their seats and the show began.

Around 5:38pm, a bright white light flooded in and a foreboding rhythm echoed through the speakers. The first character created by Browne emerged from behind a deliberately shattered window with four panels coated in ice. This character was our “antagonist” – a raven who visits a heartbroken student longing to know if he will ever be reunited with his lost love, Lenore. However, the raven only responds with a haunting “nevermore.”

Anna Cleveland brought Browne’s raven to life, dressed in a sleeveless tuxedo suit, square shoulder dress, double-layered tailcoat with a split train, platform front-zipper heels, and a top hat with spiked netting. She was the first to enter and the last to leave the floor. Her outfit, adorned with pleated grosgrain and embellished with silk ribbon needlework, perfectly embodied the brand’s elegant structure and love for unique silhouettes, as did the rest of the collection.

Similar to the characters of Mother Ginger in The Nutcracker and the Ghost of Christmas Present in A Christmas Carol by Charles Dickens, four youngsters appeared from the main tree’s attire, sneaking around the models during the 19-minute presentation. In comparison to Dickens’ tale, which includes two children named Ignorance and Want, who emerge from a large garment wearing tattered clothes, the four kids in this performance were dressed in full Thom Browne suits and carrying mini Hector bags.

Carrie Coon, the actress who plays Mrs Russell in The Guilded Age, spoke loudly as the children gathered in front of Cleveland, nestled under the winding branches of a sapling to her left. She began reading, “Once upon a midnight dreary, while I was lost in thought, feeling weak and tired, pouring over many old and curious books of forgotten knowledge.”

Of course, Coon’s reciting on its own was an example of runway nuanced as a performance art – utilising theatrical elements with models assuming personas and interacting with audiences. But a simple satisfaction stemmed from the fact that the actresses’ on-screen husband, Morgan Spector, was sat front row next to his actual wife and subjected to Coon’s screams about a tragic love loss.

“Please, I beg of you, tell me honestly, is there relief to be found in this haunted home of horror? Coon squealed, the words of Poe ringing in my ears.”

When questioned about his personal inspiration for Poe’s main character’s suffering, Browne simply revealed his admiration for the writer and his preference for being recognized as an “American designer.” It is safe to assume that almost everyone is aware of this fact, solidifying Browne’s unparalleled status in the industry.

A selection of gothic-inspired professional attire was featured, consisting of quilted shirts, tie-around trenches, silk moire coats, collared jackets transformed into full-length bodysuits, and bodycon skirts with layered waistbands. The models wore abstract makeup and had stiffly teased hair. Some, such as the iconic Alex Consani, had braids secured up and to the side. The collection also included voluminous dresses with large bows on the necklines and bottom trims, cascading ribbons, and two-toned tweed, adding to the playful aesthetic of the line.

Browne’s shoes are highly praised for their combination of athletic style and unconventional flair, appealing to those with a taste for high-end fashion. The collection includes form-fitting boots, ankle boots, galoshes, longwing loafers, and heels that all reach just below the knee. Each pair is covered in a plastic layer, ensuring durability even in snowy conditions. Browne himself described them as wearable “through the snow” in a teaser before their release. The line also features totes and crossbody bags made with the same protective material to protect against harsh weather.

Consani concluded the performance by adorning her upside-down braids with golden flakes. She then moved to the bottom left corner of the stage to remove her clothing, passing her large gold shawl to the children before turning away as they quickly took it. Underneath, she revealed a coordinated outfit consisting of a golden cardigan, bustier, and skirt with rose and raven decorations on the panniers.

Shortly before the lights went out, a voice loudly exclaimed “Nevermore, nevermore, neverrrrmoreeeee,” drawing our antagonist towards the window. However, the last stroll belonged to Thom Browne himself. Accompanied by the music of Etta James’ “At Last,” Browne approached his valentine, Andrew Bolton, and presented him with a heart-shaped box of chocolates and a brief kiss – a perfect conclusion to a captivating performance of old-fashioned sorrow.

The article can be found on the Independent website.

The Independent’s website contains the article.