At the Griffin Theater, Thom Browne FW25 staged a spectacle of precision and fantasy. Origami birds filled the space, suspended over a traditional study. A white parakeet, caged and motionless, anchored the scene. This collection, titled “Ornithology,” fused Japanese influence with New England elegance. The result was a masterful balance of structure and movement.
Japanese Influence in Form and Detail
Browne’s admiration for Japan shaped key silhouettes. Skirts, long and narrow, were paired with kimono-inspired jackets. Unlike traditional kimonos, these featured buttons instead of belts. Kanzashi-style hair ornaments and Maiko-inspired coiffures heightened the theatricality. Meanwhile, feathered eyelashes flickered with movement. Unexpectedly, models also wore boldly blackened eyebrows—a striking nod to Super Bowl eye-black.
NYFW: Thom Browne FW25
Reinventing the Cocktail Dress
Browne’s cocktail dresses cut sharp lines with bias draping and collegiate cravats. Wool and satin stripes disrupted the fabric’s flow, giving the silhouette a precise rhythm. Outerwear took a starker turn. Wax-coated coats in imperial purple and Rothko yellow looked worn yet deliberate, their finish resembling aged leather. The pieces carried a raw edge, controlled but never rigid.
A Grand Finale in Cadet Grey
Birdwatchers dress for function. Browne’s models followed suit, stepping out in thigh-high waders and waterproof boots. Yet, everything remained in his signature cadet grey. The show reached its peak when Alex Wek emerged. She wore a monumental wedding gown, its pleats unfolding like wings. A shimmering kimono jacket completed the look, mirroring the opening design.
Thom Browne often explores fashion’s historical arcs. However, this season, he defied expectations. His closing gesture underscored the moment. He handed a bouquet to Andrew Bolton, his husband and a leading fashion curator. In this study of flight, Browne once again soared.
