Victoria Beckham Fall 2014 RTW

David Beckham and the four children he shares with his wife, Victoria, emerged from backstage moments before the lights went down at her show today. The Beckhams know how to make an entrance, don’t they? Business is going well for Victoria Beckham. Last month she announced the brand will be opening its first store on London’s Dover Street this fall, and a new New York office and showroom indicate that she’s got her sights on a Manhattan location before too long.

There was nice growth on the runway as well. Last season Beckham might’ve gone too far in the boyish direction for her client base. She made adjustments here, elongating the silhouette first and foremost, and adding femme touches to what was, all in all, a sharply tailored collection. A substantial gold chain replaced a button closure on a winter white cashmere coat, the back of which was sharply pleated in a lighter-weight silk, while a deep organza ruffle decorated the hem of a tunic sweatshirt. Prints made a comeback, and there was sparkle to spare on a midi-skirt worn with a cowl-neck knit.

Speaking of entrance making, it was good to see Beckham redirect some of her attention to eveningwear. She reports that it’s a top-selling category for the brand, and it was easy to see why in the case of a pleated black georgette goddess gown with an ivory cashmere camisole underneath. Cate Blanchett will in all likelihood wear Armani to the Oscars, but if not, we’ve found her dress.

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Rag & Bone Fall 2014 Ready To Wear

Paint-spattered denim. Cargo pants. Lumberjack check, name-embroidered mechanics’ jackets, and pinstripe tailoring. And Cosby sweaters? At first, it was difficult to discern the through line in the new Rag & Bone collection. Indeed, speaking backstage before today’s show, Marcus Wainwright and David Neville themselves acknowledged that this season’s outing was “a mix of a lot of things,” and that was 100 percent true. And then, as the show settled in your mind, it hit you: This was a paean to the working man! Not just the working-class man, although his presence was keenly felt in those name-embroidered jackets, like the ones sported by Jourdan Dunn and Georgia May Jagger. But also the soldier, and the man of the land. Even the grandees in their pinstripe, heading to their shiny office towers, even they got a look-see, and so too the late-eighties, tracksuit-wearing, dole-collecting Madchester lad, who would have gone to work in the factory, if the factory hadn’t shut down. Paycheck men, all of them.

Moreover, Wainwright and Neville’s egalitarian vision was large enough to include a wisecracking obstetrician with a large, happy family who worked out of his Brooklyn brownstone. The squiggly “Cosby” knits were a standout here—a collaboration with Coogi, the Australian brand that made the original versions back in the eighties. The feral hand-knit jackets were another highlight, albeit one rather difficult to connect back to the theme. But then, who cares? Consistency is a virtue much overpraised, and that “working man” hypothesis is probably rubbish. This was a collection that was more about great pieces than any ambitious conceptual or aesthetic proposition. Mohair check hoodie? Want. Baggy cream-colored jeans paint-spattered by hand? Need. Baggy knee-high boots in red? Have to have. And that whole Joan Smalls look, head to toe. Start saving your pennies, working girls. There was a mix of a lot of things here you’re going to want to buy.

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ZAC Zac Posen Fall 2014 Ready To Wear

For Fall, Zac Posen was determined to bring more separates into his reliable mix of ZAC Zac Posen frocks. “It adds a 9-to-5 balance,” said the designer in his Tribeca studio space, his team stitching away at the main collection in the sewing room next door. ZAC Zac Posen is his “secondary” offering, the one affordable enough for his evening-gown customer to buy multiple pieces of—a $1,000 day dress here, a $375 silk blouse there—and transform herself into a day-to-night Zac Posen woman.

The question is: Does she want that? Even when he’s making tops and bottoms, Posen likes his girl dressed up, which can look a little old-fashioned for day. Leather skirts and jackets, printed with a dark red plaid better suited to wool, just didn’t sit right. And to-the-rib-cage trousers, fashioned with multiple pleats at the hip to give them the silhouette of a long skirt, seemed impractical. The freshest looks were the long-and-short dresses and pussy-bow blouses in a pressed-flower print the color of a nectarine. They were polished but not too serious. The burnout knits, on the other hand, were too “granny’s attic” to really last in a working woman’s wardrobe. She’d much prefer one of his sharp blazers in herringbone stretch jacquard.

Lucky for her, Posen included a lot of distinctively seamed dresses and jackets. Those pieces were good enough to make more than a few of his special-occasion customers everyday ones, too.

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Thakoon Addition Fall 2014 Ready To Wear

In recent seasons, Thakoon Panichgul’s secondary line, Addition, has grown beyond the pretty dresses and printed pajamas it started off with to include more menswear-inspired tailoring and fresh styling ideas. But where Panichgul piled on the layers for Pre-Fall, here he peeled them off. “It’s about taking foundation pieces and then twisting them so they look slightly disheveled, like they’re coming undone,” he said, describing a girl who tosses on her boyfriend’s oversize cardigan (with nothing underneath, naturally), plucks a skirt off the floor, and dashes out the door. Another sweater came nonchalantly shrugged off the shoulder, adding an edge to the kicky LBD it was paired with. Shirting has emerged as a strong category for the designer.

He showed crisp button-ups peeking out from cozy knits, and added poplin touches to the sleeves and hem of a snug blazer. Outerwear highlights included a hooded cape cut from gray banker’s felt, ombré plaid toppers, and a classic duffle coat. All in all, a strong Addition outing that shined ideas on themes—artful dishevelment, men’s shirting, statement coats—that we expect to see more of when the Fall shows get underway next week.

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New York Fashion Week – Rachel Roy Fall 2014 Ready To Wear

The designer has relocated her family to Los Angeles. “What, really, do we have to do other than what’s right for ourselves?” she posed at a preview in her New York studio. In a way, the West Coast move has given Roy a fresh outlook on her business, which just turned ten years old. Her message for Fall was “to make looking feminine-but-cool as simple as possible,” she said. With this in mind, Roy offered several dresses that gave the impression of layered separates. For example, the fifth look appeared to be a lace slip worn underneath a floral V-neck top and slim navy pencil skirt; in fact, it was just one piece, just one decision for her customer to make instead of several. Throughout the lineup, Roy collaged together materials such as printed silk and delicate Chantilly on high-slit skirts, or Lurex-flecked tweed with iridescent jacquard on novelty suits. At times, the result felt a bit overwrought (the addition of metallic leather details didn’t help). Still, the handful of head-to-toe Venetian red looks here was nothing short of striking, and a gray wool topper was a nice fusion of the classic peacoat and a tough bomber jacket.

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New York Fashion Week – Lisa Perry Fall 2014 Ready To Wear

Lisa Perry typically starts the design process by looking to one of her favorite pieces of artwork or an architect she admires. For Fall, her muse came from an unexpected place: Instagram. “His name is @donalddrawbertson, and he makes art out of gaffer tape,” said Perry, sitting on a bench in the middle of her Madison Avenue boutique, which had been taped up by the artist, whose actual name is Donald Robertson. (He also happens to be one of the founders of MAC Cosmetics.)

Robertson transformed Perry’s boutique into a white lacquered space covered with lines of black tape that formed scattered geometric shapes. The boots and heels worn by the models, designed in collaboration with Manolo Blahnik, had a similar look. So it was wise that Perry stayed away from prints this season, save for a maze pattern that actually clashed quite nicely with the background.

Instead, she focused on silhouette, creating exaggerated versions of her favorite 1960s styles. A Kelly green felt trapeze dress had a back so broad that it was more like a cape, and a purple felt tunic dress was given more shape with rounded shoulders and a deep V-neck. Fabric was also a big consideration. Along with that aforementioned felt—which took color very well, and was also used to make several pairs of nice-fitting wide-leg trousers—Perry used a spongy gray jersey and a black perforated fabric with zero stretch. A fabric foil in the vein of Warhol’s silver clouds was used cleverly on an oversize sweatshirt. (It would have been too obvious on one of her classic shifts.)

The final look—a bubble dress in the perforated black fabric—appeared more like a skirt being worn as a shirt than an actual party frock. But for that misstep Perry can be forgiven. All in all, it was a strong collection, one that didn’t ring too costumey or overwrought.

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Tia Cibani Fall 2014 Ready To Wear

“I’ve always wanted to reference the whirling dervishes,” said designer Tia Cibani on Tuesday at her sliver of a studio in New York’s Meatpacking District. For Fall, she did just that, turning to her native North Africa for more than a little inspiration.

Today, the runway at her show venue, the Prince George Ballroom—a grand ol’, just-decrepit-enough place—was lined with Moroccan rugs bought just across the street. Cibani’s team handed out Turkish delights as favors, and mint tea was served in the lobby. The clothes followed suit, most obviously with elongated felt fezzes made by New York milliner Joy Kim.

Each look was a study in layers and proportion. For instance, a pair of slim cupro pants—traditionally called churidar—were worn under an A-line caftan, and a cropped, chunky, hand-knit sweater was paired with an above-the-ankle ball skirt in a “Damascus rose” brocade. That same floral was rendered digitally on a long gown, which skimmed the body at the front but billowed into a cape at the back. “Collapsing volume,” Cibani called it.

Iris Apfel was also a muse. “I was feeling very magpie,” Cibani said. It came through in the multiple shapes and styles on offer, from a bergamot-colored coat nipped in at the waist with a leather belt to the leopard-print tunic and matching legging trouser in rusty red. Cibani managed to cast a burnished patina over the whole collection, giving each piece a sense of belonging.

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Tom Ford Fall 2014 Menswear

Tom Ford is a great example of fashion’s action/reaction dialectic. After a Spring collection saturated with intense, thrilling color, he went black for Fall. And, following seasons of hyperattenuated tailoring, he showed only two suits this time round, throwing the emphasis solidly on sportswear, “to capture the other side of my customer’s life,” as he sagely put it during today’s presentation. And such solid sportswear! Voluminous topcoats swirled around a stovepipe silhouette; a coyote-lined parka wrapped a bouclé-like sweater (yarn hand-spun in Peru, hand-knitted in Italy); gray shearling over a gray cashmere hoodie…you get the picture. And no prizes for guessing why this “other side” should suddenly have become important. Ford himself now needs such clothes (brown shoes, for Pete’s sake) when he’s walking his toddler, Jack, in Hyde Park.

Things got even better when Ford dialed down the volume, as in a down-filled taupe blazer and a bone-toned mac (aestheticized, he claimed, with a process that removes the characteristic rubbery aroma). But the most telling addition to Ford’s newly casual Fall repertoire may well have been trainers. He called them “tennis shoes.” Said he’d been resisting them forever, or at least “until I could figure out how to make them distinctive.” The secret? They are produced using the hand-polishing technique that is applied to Ford’s dress shoes: three days per pair, to yield a lustrous aged-in-wood effect.

Such obsessive attention to detail has always been Ford’s calling card. When the item merits the attention, the result can be stunning. And so it was with Fall’s eveningwear. Anyone needing their color fix could find it in lustrous silk jacquard jackets, in exotic ikats, or in textures so lush they could almost have been dévoré. And there was still color elsewhere in the collection: a zing of chartreuse slipped into a pile of cashmere sweaters, a tasty selection of spice tones in amid the urban charcoal.

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Michael Kors Fall 2014 menswear

There’s not a waistband in any of the looks,” Michael Kors said by way of preface to his Fall lineup. Those waited outside, in the sales showroom. When the collection came from the factories, the pieces Kors gravitated to were the sweats and track pants, all in luxurious fabrications—double-faced cashmere, suede, suiting flannel—and all with drawstring waists. That gives you an idea of the bet he’s making on ease. (“And we had so many fabulous belts…” he said wistfully afterward.)

He was reacting, he said, to the twin nightmares of business-formal overdressing and casual Fridays. He combined both into what he called “Big Sur meets Big City.” Baja sweaters and beanies abounded. There were suit fabrics and tailored jackets, but softened into something more like pajamas than power suits. A representative look paired crinkled flannel track pants with a longer, three-button jacket, untucked shirt, mohair pullover, and sandals. “It’s the crushing of Wall Street,” Kors said gleefully.

That’s an odd way for a man behind the most blockbuster fashion IPO in memory to repay Wall Street, but his bankers may be the only people able to afford ten-ply cashmere long johns. If the collection doesn’t portend the demise of the suit, it does suggest Kors has shrugged off some of the self-consciousness of his last collection for a glamorous ease that seems closer to his heart. Piece after piece was desirable, even when faintly ridiculous: cashmere sweats, suede joggers. “I have a feeling someone in Dubai will actually work out in these,” Kors said. Workout-ready or no, one major retailer exiting the presentation confirmed that luxury
loungewear is a salable and growing category.

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Rag & Bone Fall 2014 Menswear

Were the digital images of gridded boxes coded with hard-to-decipher label a clue to Rag & Bone’s Fall collection? They were projected wall-sized on the West Chelsea venue where the brand hosted its Fall ’14 menswear show, during a few days in New York that is starting to look, thanks to presentations from Michael Kors and Ralph Lauren, as well as from R&B, like a fledgling New York menswear week of sorts. The screens served in a way as a self-diagnostic test for the spectators. The PR people saw seating charts; this reviewer saw a bingo card (analyze that, doctors). But it was hard to connect any hypothesis to the show once it began.

The collection for Fall took R&B a distance from the military-inflected one they showed for Spring and closer to their heritage of English tailoring and workwear. “I’m getting a little nostalgic at the moment,” Marcus Wainwright said. “If you look at our first-ever two shows, they were a lot like this.” He and David Neville showed a mix of tailored pieces with hardy staples: suits with tees or knits rather than collared shirts, accessorized hooded anoraks worn over pleated pants, and plenty of rugged work boots. There was a fifties flavor to the proportion, with it shorter shorts and higher-waist trousers, but the cut was modern: drop-crotched, carrot-shaped for the pants, with articulated seams borrowed from performance wear.

There were pieces that seemed lifted wholesale from an earlier era, like a few great bowling shirts—but they were stitched not with the wearers’ names, but instead with the words (and then, on the back, the numerals) Three or Five. One more riddle to solve, until Wainwright dispelled it: Rag does a strong business in number-printed T-shirts but didn’t feel like sending them out on a runway.

That may in fact be the key to Rag & Bone: Given the duo’s success, they can now do more or less whatever they want. Asked after the show about the numbered projections, Wainwright revealed that they were the projection company’s test cards; they just looked cool, so he asked them to keep them up for the preshow cocktail. (During the show itself, the projections switched to photographs by four photographers—Jeff Henrikson, Billy Kidd, Adam Whitehead, and Brian Ziegler—commissioned to shoot the models during their fittings. It was an effective conceit.) “That kind of is the key to the collection,” Wainwright said. “There wasn’t a theme, there wasn’t a big secret inspiration. It’s about the purity of menswear, and what we believe fashion should actually be. In my opinion, there’s a lot of fashion that really means nothing to a guy.”

Though the cut of those trousers seemed potentially challenging to a fashion-averse guy—”The two hardest things in menswear to sell are high waists and pleats, hands down,” Wainwright acknowledged—there was plenty that was appealing and salable to choose from, whether the mack-fabric trenches or the shearlings or those numbered bowling shirts. (R&B’s men’s collections have proven so appealing and salable, in fact, that women apparently buy a lot of them, hence the girls-in-menswear on the runway.)

It’s something of a riddle  that a show premised on purity and real clothing was as styled as this one was. But that, too, was seemingly easy to explain. “I think there’s a lot of backlash sometimes against things that are heritage these days,” Wainwright said. “People think that’s been done. Every menswear piece really comes from that in some way. But people should be focused on how clothes are put together.” The duo seem to have done some self-diagnosis of their own lately and settled on confining the tricks to the packaging while giving the clothes the cool but mostly unpretentious vibe of their early collections. The
appeal of that isn’t hard to decipher.

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Brioni Fall 2014 Menswear

Brioni co-founder Gaetano Savini traveled to Japan in 1963. The historical record exists—it’s a small, age-stained diary with Arigato=Grazie scrawled across the cover. When Brioni’s current steward, Brendan Mullane, turned up the journal in the house archives, it was like he’d received a sign from above. Mullane has made a habit of retracing the Brioni founders’ steps (last season, he replicated their trip to London), and he packed his crew up and took them all to Japan. The result is perhaps the most Japanese collection of ultra-luxury Italian suits ever attempted.

The entire enterprise is premised on bringing together the two traditions. It started on the micro level: Mullane spoke of borrowing colors from Caravaggio (rich cherry red, deep green, navy) and weaving them into Japanese suiting wools, then garment-dyeing Italian cashmere coats in a pink the color of Japanese cherry blossoms. From there, it grew to macro: There were traditional Western suits in single- and double-breasted iterations, but the apex of the mix was a suit silhouette inspired by a kimono, with inset lapels and a belted waist. It drew the largest crowd of goggling Italians.

On the trip, between visits to Tadao Ando’s building and the Naoshima Biennial, Mullane met with a 450-year-old firm of kimono artisans, from whom he commissioned a custom print featuring cranes, bamboo, and plum and cherry blossoms. It showed up printed onto silk shirts and woven into suits, but its wildest and most luxurious expression was on a bomber jacket hand-painted with the crane motif. It will be a limited edition and, as the euphemism has it, priced on request. Which in the end makes it different less in degree than in kind from Brioni’s usual wildly luxe fare. (This is a collection that includes a full-length mink with
a Prince of Wales pattern hand-cut into it with a razor.)

Skeptics may wonder at the wisdom of a departure as marked as this one, but wonder is at least as worthy a response as skepticism. “To me, it’s quintessentially Brioni,” Mullane said of the collection. “Everything has that nod to Italian sartorialism, but taken to the next level.” Besides, Savini isn’t the only traveler with an understanding that arigato=grazie. Cross-cultural appreciation goes both ways. “Most of the customers of the kimono company,” Mullane confided, “are also Brioni customers.”

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Sacai Fall 2014 Menswear

The tide has turned. Once upon a time, Sacai’s menswear hung on rails in a showroom without much company in the way of visitors. From there, it was a presentation on mannequins to a few early adopters in a nearly silent gallery. Those were the days. Today’s live presentation didn’t just seem packed because each of the twenty-six models stood facing a mirror, essentially doubling the body count as well as cleverly offering 360-degree views of a collection that often looks different from every angle. It seemed packed because clustered around every model were a handful of editors chanting I want that, I want that, I want that.

The vox pop is not the last word in fashion criticism, of course. But the voice of the crowd registered all the louder because Sacai’s Chitose Abe doesn’t come to town to explain her menswear. (Based in Tokyo, she reserves her visits to Paris for her women’s shows.) She simply builds it, and they come. The guiding principles of a Sacai collection are fairly regular: Custom-developed fabrics, unusual combinations and collisions, and a yen for deconstruction. Here, all the parts were in play, in a collection based on the idea of bringing the inside out. Some reversible pieces were simply styled inside out to display their interior workings. Others were designed to be inside out, like the varsity jackets from which the wool had been cut away to reveal the nylon lining. Some pieces flirted with inside and outside at once, such as the knit biker jacket whose lining dangled down beneath its hem. Others offered different options outside and in, like the Chesterfield whose double-face wool was houndstooth on the outside, striped within.

A skeptic might argue that it’s a small slice of the fashion-buying public that’s truly interested in anatomizing the finer points of their clothing’s innards versus skins. But though the clothes were piled into looks like layer cakes—Abe doesn’t just give fashion, she gives product, and a lot of it—to pick it apart was to find pieces in beautiful materials that wore their inspired weirdness lightly. If anything, this collection included fewer of the mash-ups that Sacai specializes in (wool sweatpants with nylon waistbands, cotton polos ending in drawstring hems, and so on), and more wardrobe staples of a more digestible variety: duffel coats, Chesterfields, suits, and great knitwear in Navajo and Nordic patterns.

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Y-3 Fall 2014 Menswear

As is often the case with fashion shows, the invitation to Y-3’s debut Paris show provided the first clue. “Stay here!” it blared in comic-book caps. “I will get help!”

Evidently Yohji Yamamoto had superheroes in mind, and, none too subtly, he put himself forward as their tailor. But the shoe fit (this being the baby of Adidas, more often than not it was a sneaker). Menswear designers are forever discussing the fusion of performance and style, of sportswear and tailored clothing: Y-3 more or less wrote the book. It flew into Paris to remind the world of that fact. It didn’t have to get help: It is help.

Of course the landscape has changed since Y-3 came to be a decade ago. (The ubiquity of Raf Simons’ multicolored Adidas trainers in the audience alone reminded you that fashion/sport collaborations are now considered a given, not a novelty.) Still, Yamamoto and Y-3 acquitted themselves ably. In the thick of a long and product-heavy collection, play with proportion—a nod, according to the label, to sixties couturiers—set the showpieces apart. Striped hoodies were stretched into tunics, gym shorts into sarouel pants, and a track jacket into a wrapped blanket-cum-poncho, debonair enough for a corsair. If clothes make the man, capes makes the hero.

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Christophe Lemaire Fall 2014 Menswear

Christophe Lemaire is internationalism incarnate. He’s always had an eye on fashion—maybe it’s more appropriate to say “dress”—from a global perspective. He is the rare designer who will say with a straight face, pointing to a flannel T-shirt and matching triple-pleat pants, his so-called daily pajama, “I wouldn’t mind if people see a reference to eighties Japan.” A walk-through with Lemaire inevitably invokes references to Chinese workwear from the Mao era, Middle Eastern nomads, and Western New Wave musicians.

It’s a quality that made him a smart choice for Hermès, which makes its super-luxury pitch to the perennial traveler. But it’s also a quality that can make his namesake line, where he indulges it fully, a bit obscure to shoppers weaned on jeans and T-shirts. (After several years in business, Lemaire finally introduced his own jeans a season or two ago.) For Fall, by his own admission, he moved his collection in a more urban direction. He introduced leather jackets and shetland sweaters to complement his usual yak-wool knits. He didn’t compromise on any of his fixations (large, carrot-shaped trousers; loose, draping coats), but by offering more of a foothold to casual observers, he situated his collection in a wider context.

While there were still padded coats inspired by Chinese uniforms, collarless workshirts, and multipleat pants, there was also a great gabardine trenchcoat with a removable wool/cashmere collar a smart, elongated peacoat; and plenty of denim. If it was urbane, that’s because it was inspired by an urban mecca: Lemaire’s native Paris. But, he said, “It’s another Paris. It’s not the bourgeois Paris everyone has in mind.” What made his Fall collection rise to new heights was the way the designer found a way to work his favored multicultural references into a more focused perspective on city dressing. Which only fits, given that his other Paris is as international as his imagination. To realize that, you had only to hear him enthusing about the inspiration he took from old Algerian men in Barbès for a leather vest worn over a longer tailored jacket.

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Thom Browne Fall 2014 Menswear

More art installation than fashion show backdrop, the set for Thom Browne’s show today was a Disney woodland populated with dozens of cute critters. A bear posed on a rock, ducks and fish swam in a pinstripe river, rabbits and squirrels scurried, an eagle soared above. The kicker? Three months in the making, the entire tableau, flora and fauna included, was stitched from classic menswear fabrics.

The show itself was a performance in two acts: the hunted and the hunters. For the first, Stephen Jones created a stunning set of headgear to represent the animal kingdom—from a helmet with frog’s eyes and a cap whose peak came to the hardened point of an eagle’s beak, to a bear head holding a fish in its mouth, to a huge elephant mask. The clothes that went with them were as accessible as anything Browne has ever offered, deliberately so. He was so excited to be working with Jones he wanted to showcase the hats, so the tweed, herringbone, glen plaid, houndstooth, windowpane check, and gray flannel tailoring was designed to steal no thunder
(though perhaps the raw seams were an acknowledgement of the wild animal within). This first section offered a shred of insight into how Browne posted a 61 percent increase in menswear sales last year. Somewhere there is a semi-real world in which you could imagine these clothes moving.

The second act, however, was a very different story. Welcome back to Thomlandia, a sur-real world where logic and proportion have fallen sloppy dead. Browne’s hunters moved like demented Pierrots, exposing just how encumbered they were by their capelets of intarsia-ed mink, their dense honeycomb brocades woven with neoprene and digital pixels, strewn with sequins and giant oak leaves. Physical bulk aside, there was a perverse flatness to these outfits, like Browne had borrowed a leaf from Rei Kawakubo’s bible of two-dimensionality. They were so stiff that there was at least one instance—the huge plastic waders—where the model had to be lowered into his look. There was something so willfully bravura about such ridiculous excess that one was
left fishing—as usual—for analogies outside the world of conventions as banal as usefulness, ease of movement, sex appeal…Didn’t Nijinsky once do something so two-dimensional that he was practically stoned out of the theater?

Back to earth with a bump…the faces of Browne’s boys were stenciled with oak leaves to blend in with their outfits. Blend? Yes, that was the point of it all. Browne’s career has been built on a fascination with the classic, and here he was celebrating the primacy of camouflage in the male fashion lexicon. Or so he said. A more poignant subtext was the one suggested by the finale, where the “hunter” models stood in front of the “hunted” models, obscuring them. Then the “hunted” models moved up front. “The animals prevail,” said Browne. Showman, optimist, and conservationist? See for yourself when Browne’s entire Fall 2014 shebang goes
on show at a gallery near you. Because that is the likeliest destination for this epic spectacle.

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