His inspiration was the Island of Misfit Toys from the “Rudolph the Red-Nosed Reindeer” animated film. “In a way, I always feel New York is an island of misfit toys,” he said. “It’s a place where you can really be true to yourself and be comfortable. People are so much more accepting and it’s such an inspiring time.”
That translated into a true conceptualized collection that was based partially on kids’ toys such as Slinkys, Jack-in-the-boxes, wooden blocks and toy boxes, while the other half was based on adult versions of toys.
“So the adults are basically coming to the show to find their corresponding toy and their corresponding toy represents their true self,” he said, adding: “Toys are so individual and unique.”
Browne said he didn’t scour old toy stores to find pieces he could use when designing the line, opting instead to “remember what was in our heads when we remember kids’ toys. Everything is loosely based on that reference. I love being able to be free to create something that’s not so literal.”
He said the collection consists of “beautiful, unique one-offs” that include the use of heritage British, Irish and English tweeds and repp fabrics — hallmarks of the designer’s collection over the past two decades — but “brought into my world.”
During the preview, Browne unveiled his first toy and adult duo ahead of Friday evening’s show. Both looks included elongated white shirt dresses and multicheck and silk repp striped pleated skirts — his conceptualized toy look styled atop a voluminous white hoop skirt with small lobster embroideries underneath a standout jacket emblazoned with individual tweed, repp, and check multicolor embroideries and accessorized with a bulbous knit cap, oversized repp stripe pony toy bag and platform brogue boots with children’s blocks as heels.
“The whole thing is actually one whole look that spirals off,” Browne said. His corresponding adult look sported a tailored mixed check topcoat and trousers, high top hat, Mr. Thom bag and lace-up booties with repp platform heels.
The duo exemplified the designer’s messaging through a joyous balance of conceptualized individuality, a touch of whimsy and workmanship, as did his second toy-box-inspired look, with a fully lined and fabricated wooden trompe l’oeil suited toy box as top and a voluminous red, navy and white silk repp stripe corseted skirt and petticoat.
He said the collection consists of “beautiful, unique one-offs” that include the use of heritage British, Irish and English tweeds and repp fabrics — hallmarks of the designer’s collection over the past two decades — but “brought into my world.”
During the preview, Browne unveiled his first toy and adult duo ahead of Friday evening’s show. Both looks included elongated white shirt dresses and multicheck and silk repp striped pleated skirts — his conceptualized toy look styled atop a voluminous white hoop skirt with small lobster embroideries underneath a standout jacket emblazoned with individual tweed, repp, and check multicolor embroideries and accessorized with a bulbous knit cap, oversized repp stripe pony toy bag and platform brogue boots with children’s blocks as heels.
“The whole thing is actually one whole look that spirals off,” Browne said. His corresponding adult look sported a tailored mixed check topcoat and trousers, high top hat, Mr. Thom bag and lace-up booties with repp platform heels.
The duo exemplified the designer’s messaging through a joyous balance of conceptualized individuality, a touch of whimsy and workmanship, as did his second toy-box-inspired look, with a fully lined and fabricated wooden trompe l’oeil suited toy box as top and a voluminous red, navy and white silk repp stripe corseted skirt and petticoat.
So while the pieces are trademark over-the-top Browne statements, they are familiar at the same time. “They’re classic shapes that I’ve been doing for 20 years and that I love and they haven’t really had to change that much, they still feel really new every season.
“It was important to do something that put a smile on peoples’ faces, too. I think there was something important about the story of finding your true self, but also having fun with it,” Browne said, hinting at Friday’s show installation, which will feature 500 teddy bears donning his signature gray suits within a conference room-inspired setting. “I like it to be a layered experience.”
Although fall fashion week has already passed for most brands, the timing of Browne’s show is intentional. It’s tied into the second part of “In America: A Lexicon of Fashion,” opening May 7 at the Metropolitan Museum of Art’s Costume Institute, and curated by his partner, Andrew Bolton. The second installation is titled “In America: An Anthology of Fashion,” and will be housed within the museum’s American Wing.
“Andrew has done such an amazing job with his shows, really showing the world how important American design is,” Browne said. “I think there are really interesting ideas happening here in America and I like showing the world that America and American design are not just commercial. I want to be the champion for making sure that people see that you can have a conceptual idea and do conceptual collections, but also have a business. You can have both and I think that is important for the world to see.”
Indeed. Browne, which is now majority-owned by Ermenegildo Zegna Group, posted sales of 264 million euros last year, an increase of 47 percent.
Even though he has built an established business, Browne said he often wonders why other American designers have such a hard time breaking through and succeeding.
“I think about that all the time because there are really, really talented people here who have so many interesting ideas,” he said. And speaking from personal experience, he believes the key for any designer seeking to break through is to have a point of view and stick with it.
“I was very true to creating one image for people so they knew what I stood for,” he said. “But it took me 10 years to do that. And I think that’s the one thing you have to realize if you want to become a designer.”
Of course, it hasn’t all been a walk in the park, Browne said. “In 2009, we almost went out of business,” he said, but he hunkered down and stayed true to his vision and ultimately it worked out.
“The last thing we need is another designer or more clothes, so you have to do one good thing,” he said. “For me it was the gray suit, but the proportions were different than what people had done before. Nobody liked it at first — for the first three, four years. I had friends who said, ‘Why would I buy it when it doesn’t even fit you?’ But you have to stay true to [your vision] and be committed to it 110 percent. If you’re just doing it to be rich and famous, then it’s most likely not going to happen.”
So even though he plans to return to Paris to show his men’s collection in June, he’ll always be an “American designer in Paris.”
He said Bolton’s shows for the Met have shown the world that there is talent in America in terms of fashion, and Browne is just happy to be part of that story.
“That’s what Andrew has done,” he said. “He’s shown the world that there’s so much evidence.”
In anticipation of the opening of the exhibit next week, the big fundraiser for the museum, the Met Gala, will be held Monday night. Browne wouldn’t tip his hand on who will be seated with him at his table at the event or which celebrities he’d be dressing, however.
“It’ll be an incredible group of individuals,” he said. “We all get along and can relate to each other and they’ve been customers or fans for a long time. It’ll be new and old ambassadors.”
With so much on his plate, Browne also hasn’t had a lot of time to think about how he’ll be commemorating his 20th anniversary next year. But rest assured, he’ll come up with something.
“It just seems like yesterday and it feels like a lifetime, but it’s gone really quickly,” he said. “I remember working with Brooks Brothers and Moncler and other really important moments along the way. What I’ve been able to do is really special, and I’m still doing it.”
And his longevity can help deliver an important message to the American fashion community. Even though 20 years is a long time and should be celebrated, he said, “you still have to back it up with a strong business. Our business is good and over the last few years, it’s been better than ever, but there’s still so much work to do.”
His goal for the next 20 years is to keep on keeping on while introducing the Thom Browne brand to a whole new group of customers. “People still see us in a niche way, but there are so many more people who should be opened up to this world,” he said. “We have to make sure to stay true to that gray suit from 20 years ago, but we can do anything. There are no limits.”
“It was important to do something that put a smile on peoples’ faces, too. I think there was something important about the story of finding your true self, but also having fun with it,” Browne said, hinting at Friday’s show installation, which will feature 500 teddy bears donning his signature gray suits within a conference room-inspired setting. “I like it to be a layered experience.”
Although fall fashion week has already passed for most brands, the timing of Browne’s show is intentional. It’s tied into the second part of “In America: A Lexicon of Fashion,” opening May 7 at the Metropolitan Museum of Art’s Costume Institute, and curated by his partner, Andrew Bolton. The second installation is titled “In America: An Anthology of Fashion,” and will be housed within the museum’s American Wing.
“Andrew has done such an amazing job with his shows, really showing the world how important American design is,” Browne said. “I think there are really interesting ideas happening here in America and I like showing the world that America and American design are not just commercial. I want to be the champion for making sure that people see that you can have a conceptual idea and do conceptual collections, but also have a business. You can have both and I think that is important for the world to see.”
Indeed. Browne, which is now majority-owned by Ermenegildo Zegna Group, posted sales of 264 million euros last year, an increase of 47 percent.
Even though he has built an established business, Browne said he often wonders why other American designers have such a hard time breaking through and succeeding.
“I think about that all the time because there are really, really talented people here who have so many interesting ideas,” he said. And speaking from personal experience, he believes the key for any designer seeking to break through is to have a point of view and stick with it.
“I was very true to creating one image for people so they knew what I stood for,” he said. “But it took me 10 years to do that. And I think that’s the one thing you have to realize if you want to become a designer.”
Of course, it hasn’t all been a walk in the park, Browne said. “In 2009, we almost went out of business,” he said, but he hunkered down and stayed true to his vision and ultimately it worked out.
“The last thing we need is another designer or more clothes, so you have to do one good thing,” he said. “For me it was the gray suit, but the proportions were different than what people had done before. Nobody liked it at first — for the first three, four years. I had friends who said, ‘Why would I buy it when it doesn’t even fit you?’ But you have to stay true to [your vision] and be committed to it 110 percent. If you’re just doing it to be rich and famous, then it’s most likely not going to happen.”
So even though he plans to return to Paris to show his men’s collection in June, he’ll always be an “American designer in Paris.”
He said Bolton’s shows for the Met have shown the world that there is talent in America in terms of fashion, and Browne is just happy to be part of that story.
“That’s what Andrew has done,” he said. “He’s shown the world that there’s so much evidence.”
In anticipation of the opening of the exhibit next week, the big fundraiser for the museum, the Met Gala, will be held Monday night. Browne wouldn’t tip his hand on who will be seated with him at his table at the event or which celebrities he’d be dressing, however.
“It’ll be an incredible group of individuals,” he said. “We all get along and can relate to each other and they’ve been customers or fans for a long time. It’ll be new and old ambassadors.”
With so much on his plate, Browne also hasn’t had a lot of time to think about how he’ll be commemorating his 20th anniversary next year. But rest assured, he’ll come up with something.
“It just seems like yesterday and it feels like a lifetime, but it’s gone really quickly,” he said. “I remember working with Brooks Brothers and Moncler and other really important moments along the way. What I’ve been able to do is really special, and I’m still doing it.”
And his longevity can help deliver an important message to the American fashion community. Even though 20 years is a long time and should be celebrated, he said, “you still have to back it up with a strong business. Our business is good and over the last few years, it’s been better than ever, but there’s still so much work to do.”
His goal for the next 20 years is to keep on keeping on while introducing the Thom Browne brand to a whole new group of customers. “People still see us in a niche way, but there are so many more people who should be opened up to this world,” he said. “We have to make sure to stay true to that gray suit from 20 years ago, but we can do anything. There are no limits.”
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