As Thom Browne’s models, sporting dark lipstick, moved down the Paris runway at a pace reminiscent of a leisurely stroll, the audience had ample time to take in his creations. These included bodysuits intricately assembled from over a thousand buttons, flat panels held together by about 800 buttons, and more conventional versions featuring a mere 600 buttons. This slow procession provided a moment to reflect on the conclusion of fashion week and the state of menswear.
Currently, sportswear dominates the runway. The image of a male model exuding nonchalance, face framed by a hoodie, and hands tucked into track pants, is as surprising as a sunny forecast on the French Riviera in summer. Today’s generation doesn’t wear suits like their parents did, especially when many have built fortunes while clad in T-shirts. Confronted with this shift, the fashion industry has been striving to rejuvenate a garment that hasn’t seen a true revival since Hedi Slimane’s time at Dior Homme, with Thom Browne also contributing in his own conceptual style.
Last year saw Brioni hire and swiftly part ways with the popular buyer Justin O’Shea. Now, Haider Ackermann is at the helm of Berluti, and this season, designers like Martine Rose, Balenciaga, and Walter Van Beirendonck have made strong arguments for the suit’s relevance. Browne’s intriguing show, somewhat anachronistic in today’s non-stop Instagram era, demanded a rare commodity in the digital age: focus.
With all the suits in the same shade of gray, it might seem like Browne was repeatedly showcasing the same outfit. In reality, the collection featured three iterations of 15 outfits: the sketch, the pattern, and the finished product. The marvel lay in the fact that these were essentially overalls, requiring immense patience to don and doff, especially with their corseted waists. Wearability, however, was not the point.