Thom Browne’s consistent design methodology is grounded in precise craftsmanship and couture-level construction, often accompanied by techniques and patterns that embody the designer’s tendency towards surrealism. For Fall/Winter 2017, Browne exhibited these trademark attributes through a collection focused on tailoring and unconventional forms of embellishment, set in a grayscale winter wonderland – penguins and ice skates included.
As the show commenced, models sauntered mechanically atop the fabric-covered ice rink runway, revealing a slew of monochromatic ensembles accompanied by white collared shirts and masculine neck ties hidden beneath layers of perfectly tailored outwear. Browne’s ubiquitous toying with exaggerated and shrunken proportions was omnipresent, exhibited through smaller-than-normal blazers and cropped sweaters contrasted by elongated sleeves and protruding white cuffs; secured to model’s thumbs as if taking on the role of fingerless gloves.
Stripes, argyle and houndstooth proved featured patterns for fall/winter 2017, as did the collection’s unique penguin motif, all of which were rendered atop relaxed knits, everyday suiting and elaborate outwear utilizing couture-like construction techniques. As the seemingly grayscale collection progressed, the pallet evolved to include primary colors - red, blue, green and yellow – namely atop trompe l’oeil outerwear, quilted garments and color-blocked ensembles.
If the show were divided into three acts, the third and final sequence featured blissfully inventive black and white eveningwear. With each model’s neck and ice-skates-turned-heels accessorized by a black bowtie, the collection’s fabrication techniques and forms of embellishment became all the more elaborate; seen through inside out outerwear exposing a jacket’s interior construction, hundreds of strips of loose tulle, and garments adorned with thousands of mother of pearl buttons.
The show closed with a pair of models outfitted in likeminded puffer jacket evening ensembles, one equipped with a complimentary train. Were they two brides or two grooms? Ever the master showman, Browne left it to the audience to decide.

References
- 1
- 2
Andy Warhol
Do It Yourself (Seascape), 1962

Man Ray
Palettable, 1940-1971

Jean Paul Gaultier
Fall/ Winter 1993

Michel Dufet
Desk, 1928

Paul Dupré-Lafon
Ski Bar, 1929

Vue Magazine
Portrait Of Marcel Duchamp and Ann Miller’s leg in leopard-skin shorts and shoes, November 1954

Alexander McQueen
Fall/ Winter 1999

Bernd & Hilla Becher
Coal Bunkers, 1974

Helmut Newton
Balenciaga 'Papacha' Coat, French Vogue, November 1964

Jan Gouwetor
Rug, 1922
Jean Dunand
Art Deco Coquille d'Oeuf and Black Lacquered Vase, 1925

Man Ray
La Fortune, 1938

Óscar Domínguez
Maquina de Coser Electrosexuel, 1934-35

Osvaldo Borsani
L77 Daybed, 1956

Paul T. Frankl
'Skyscraper' Bookcase, 1926

Piet Mondrian
Composition with Yellow, Blue and Red, 1942

Robert Mallet-Stevens
Hotel Particulier, 1927

Roy Lichtenstein
Sunrise, 1965

References

Andy Warhol
Do It Yourself (Seascape), 1962
1 of 19

Man Ray
Palettable, 1940-1971
2 of 19

Jean Paul Gaultier
Fall/ Winter 1993
3 of 19

Michel Dufet
Desk, 1928
4 of 19

Paul Dupré-Lafon
Ski Bar, 1929
5 of 19

Vue Magazine
Portrait Of Marcel Duchamp and Ann Miller’s leg in leopard-skin shorts and shoes, November 1954
7 of 19

Alexander McQueen
Fall/ Winter 1999
8 of 19

Bernd & Hilla Becher
Coal Bunkers, 1974
9 of 19

Helmut Newton
Balenciaga 'Papacha' Coat, French Vogue, November 1964
10 of 19
Jan Gouwetor
Rug, 1922
11 of 19

Jean Dunand
Art Deco Coquille d'Oeuf and Black Lacquered Vase, 1925
12 of 19

Man Ray
La Fortune, 1938
13 of 19

Óscar Domínguez
Maquina de Coser Electrosexuel, 1934-35
14 of 19

Osvaldo Borsani
L77 Daybed, 1956
15 of 19

Paul T. Frankl
'Skyscraper' Bookcase, 1926
16 of 19

Piet Mondrian
Composition with Yellow, Blue and Red, 1942
17 of 19

Robert Mallet-Stevens
Hotel Particulier, 1927
18 of 19
