Photography by Dan Lecca

Pitti Fall Winter 2009 – Florence

Designer Emma Fletcher of New York’s Lyell struck a cord to a realisation with New York. It’s not the beacon of light, technologically that compared to Japan or Hong Kong but the old systems which has defined its roads, modes of transportation such as the New York Subway and the urbanisation of its city through immigration, it’s held a balance between what has remained old and new. The old jazz beat which is centered and bound holds a frame piano stillness perked by serif typography and apartment landscape. The step-by-step actions of Thom Browne, now fittingly in total awe by the fashion and general public for his individual craftsmanship of narrower and shorter lengths in response to a traditional grey suit, he has empowered this iconic dress-up masculinity with an idiosyncratic silhouette. The lapels of the impeccable wool jacket blazer is narrower, the trousers are ankle-cropped, vests and cardigans are softly constructed and showcasing one’s own lace-up brogues; round club collar button-down inner shirts and sharply cut length sleeves that pierce and expose the shirt’s cuff. Throughout the seasons, Thom has explored a variety of sporting themes for which he shares a love for. Tennis, the circus and surfing have fired off intriguing surface textures such as racket repeating motifs, American striped vest coats and checkered officer’s pantsuiting, along with woven jacquards have driven Thom Browne in the mix match and simultaneous perfection of traditional modernism. He’s become known for his carefully orchestrated theatrical demonstrations for which his shows are not just about conveying the physical produced collection, curiously also is his own temperament to indulge the audience in a spirited and entertaining show.

Which comes to his best yet. Presented for Fall/Winter 2009 in Italy, the backdrop the Istituto di Scienze Militari Aeronatiche building in Florence built in 1938 proceeded a total of 40 models wearing identical Thom Browne’s designed garments which included his military insignia grey cashmere cardigans, charcoal grey flannel front trousers, crisp white buttoned-shirt and matching grey tie and narrowing tan overcoat, hung by each marching seated model. The actions converged at regular intervals, four senior ‘cadets’ taking what each office model employee would finish typing, characterised by the Italian company Olvetti’s signature typewriters which for this show closely resembled a Olivetti Lettera 22 designed by Marcello Nizzoli. The near-perfectly synchronised actions by each fitted model spoke of a broader reflection on America’s own corporate office governance. America was indeed becoming the world economic powerhouse since the days of Queen Victoria’s British Empire’s reign and America’s own economic legacy was fueled by seemingly obedient sons concentrated hard on preparing, editing and finishing a hard’s day work of completing laborious paperwork. This all changed to dramatic effect – social governance between sexes consume no order which unshielded the desire and lust where once the modern norms and scrupulous values (being genetlemen) that caved into adultery, smoking and activities deemed unprofessional. These values would be carefully exposed in the acclaimed American’ sitcom television series Mad Men but for Thom Browne, it was the judgement and character of masculinity, staying disciplined and enjoying a day’s work would be above all highly satisfactorily. In this standout collection presentation, standout being most if not all other designers choose the conventional route of a simple spotlight catwalk, the juxtaposed parallel of old social values would behold in his impeccable tailoring with the cut and length of each shirt and sweater sleeve be a significant detail to the upper body.

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Work is serious and enjoyable for Thom’s male archetypal. That repetitive typewriting action, reminiscent of America’s war efforts in message/telegram transmission performed with diligence is accountable to his personality and sensibility. Just this kind of at first mundane action is both satisfactory and pleasurable. The faux setting has given rise to the outward narrower, tailored cuts in incisioning a brand new kind of masculine confidence that favours both creativity and intelligence. Because it would seem unfathomable to approach an office day with a complete Thom Browne pantsuit? But the modern day choice of suits is unflattering whose detailing is far too generalised in the french cuffs and standard shapes that are brash. The days of typewriting are gone and the shiny black Samsonite briefcase are more quietly reserved for civil servants but the spectrum for Thom Browne is: mundanity can be faux and it takes a strong and subdued prolonged silence that would enact the audience’s eagle-eye focused attention on garments fit for work and pleasure. A defining moment in Thom Browne’s career so far.

For more information, please view: Thom Browne in New York