In the garden of the courtesans of Thom Browne

In the garden of the courtesans of Thom Browne

Observed by four human statues, the women of Thom Browne walk in a seersucker garden with courtesan hair of the Sun King and theatrical mossette

 

They dress in basket clothes, flared jackets and corsets, all traversed by patterns of dolphins, rudders, old sailing ships and romantic daisies. In hand magic wands topped by a hat to turn the dream into reality.

Imagination that transforms into a pragmatic application: Thom Browne‘s spring / summer 2020 collection declines distant imaginations that, however, the distanced gaze of time has seen come together in common results. If at first glance one wonders what the Versailles of 1780 before the Revolution and the punk of the eighties may have in common, on the other we must surrender before the evidence: the two periods have enjoyed the same impulses since the end of the era , where resisting the new but at the same time forming it, where struggling against a power by being absorbed.

Moreover, if you think of Marie Antoinette and girls with earrings made with safety pins, you can understand how the two eras can be a certain taste of exaggeration as a way of life. Even the aesthetics are not far away though. In this Browne captures the link very pragmatically and transforms the seersucker fabric into a physical place (the garden of Versailles?) And transports it to the collection in the silk version to cover the shapes and volumes that describe the two eras. A leap that allows Browne also to talk about Ivana’s loving culture through preppy, an elegant and composed style of nerd antelitteram. In this frame that is a scenographic set, the protagonists of this mental film by Browne enter.

Which are the clothes in their traditional forms: shirts and jackets with a masculine cut alternate with knitted pullovers, pleated skirts and chemisier dresses are perfectly recognizable even if transformed by the paniers on which they are based for scenic needs. Thom Browne‘s fashion show formula cannot ignore the scenography that always becomes an integral part of the story. This time, however, the collection appears more recognizable in its individual pieces. Perhaps joining the Zegna Group has its undeniable advantages, including narrative advantages.