As New York Fashion Week roars on with all of its hype, we'll continue to touch on those stellar frocks, moments of brilliant insanity, or arty runway performances that we feel are deserving of additional recognition. Today, we are adoring designer Thom Browne's creative use of his runway space and model placement during his Autumn/Winter 2015 presentation.
Always one for sincere originality when it comes to debuting a new ready-to-wear collection, Browne puts forth couture quality threads and performances during an off-the-rack week. With his most recent production, we found ourselves more enamored with his posse of models in the shadows than those adorned in the spotlight. The designer always stages a dream-like sequence for his seasonal collections, and thankfully, his latest presentation did not falter. As each look graced the runway, drenched in beautifully tailored black suiting evoking a lady in mourning, a gaggle of all-white clad men and women would envelope her as if to offer solitude, or even nothing of the sort. One by one, black meets white; utter despair meets clear tranquility--or does it? While considering his relationship to the museum's curator, it was evident that Browne was inspired by the recent fashion exhibit at The Met: Death Becomes Her; curated by the equally talented, Andrew Bolton.
We applaud the artistic thought processes that Thom Browne always puts into his work, and we are especially fond of his latest conception. It was a unique and lovely execution of color palettes (or wholly lack thereof) and use of human emotions, without coming off too complicated or forced. His conglomerate of angelic-like models were reminiscent of that visually stunning, stone sculpture wall of moving silhouettes during the climax of The Devil's Advocate.