A Very Theatrical New York Fashion Week

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“Few American designers have come as far as Thom Browne has.” CathyHoryn reviews NYFW. Plus: Rachel Comey, Rodarte, and more

Left: Rodarte. Right: Thome Browne. Photo-Illustration: Left: Greg Kessler / Courtesy of Rodarte. Right: Serichai Traipoom / Courtesy of Thom Browne. Maybe because of the pandemic, 9/11, and the distance they’ve come, many designers this week seem clearly aware of their own histories. Rachel Comey had models and dancers pushing each other across a slick floor in office chairs or hugging or exchanging clothes, some of which she designed for her very first collection, in September 2001.

Rodarte. Photo: Greg Kessler / Courtesy of Rodarte. Few American designers have come as far as Thom Browne has. When the Pennsylvania native and one-time fledgling actor started his men’s label in the early 2000s, people sniggered at his shrunken preppy suits and flood pants. The reaction to his first women’s clothes, in about 2014, was even more severe. The historical-looking costumes seemed a poor man’s McQueen.

Thom Browne. Photo: Serichai Traipoom / Courtesy of Thom Browne. The setting was classic Thom Browne: a huge, make-believe garden with the stick-frame outlines of a mansion set in the middle. It was an imaginary, if abstract-looking, block in old New York. The S-curve silhouette of the costumes on the two male models in the house were a call-back to 1900 and its corsets, which flattened the front of the body and extended the rear.

Thom Browne. Photo: Serichai Traipoom / Courtesy of Thom Browne. But more remarkable was the transition he made in the third act of the show, when another round of models appeared in plain, solidly colored dresses made of five or six layers of tulle. The trompe l’oeil draping and torso details, and the fact that some sleeves were stitched to the side of a dress, were obviously taken from ancient statuary .

 

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