As a longtime admirer of fashion and its ability to reflect societal changes, I found this documentary both captivating and disappointing in equal measure. On one hand, Thom Browne’s designs are nothing short of extraordinary – they challenge norms, subvert expectations, and celebrate uniformity in the most extravagant way possible. His work is a testament to the power of self-expression within constraints, and it’s this contradiction that makes his creations so intriguing.
In the documentary titled “Thom Browne: The Man Who Tailors Dreams“, German filmmaker Reiner Holzemer, who has been delving into the world of fashion through films like those on Dries Van Noten and Martin Margiela, takes on a designer known for his distinctive style but reluctant to delve deep within himself. This makes Browne a somewhat elusive subject, a mystery, as one friend and peer puts it. He chooses to hide the creative force within him and let his clothing do the talking instead.
Wow, these clothes certainly have a story to tell! In the bustling workrooms, and especially in those captivating runway shows where dreams meet quirkiness – every detail meticulously planned – this fascinating documentary focuses on collections that seamlessly blend flawless craftsmanship with eccentricity and playful wit. It’s a visual delight!
It appears that Holzemer recognizes the possible discrepancy between personal and work exposure, which suggests a shrewd approach to initially bombard us with an image of extraordinary intensity. As the sound of swelling strings fills the air, a safety curtain for a proscenium stage begins to rise gradually, unveiling the opulent gold-adorned auditorium of the Palais Garnier in Paris. Each of the nearly 2,000 seats is filled with cardboard cutouts donning Thom Browne’s signature gray suit and sunglasses. The scene is quite unsettling yet captivating.
Two individuals dressed in the stylish blend of a suit and a pleated skirt, which is characteristic of Browne’s inclusive fashion philosophy, often seen on celebrities like Oscar Isaac, Lee Pace, and David Harbour, make their entrance onto the stage and place down a collection of coordinating luggage.
A model strides onto elevated stages, donning an intricate ensemble, later joined by another version of the same attire. They both settle on a suitcase, seeming to wait for an impending train. The spectacle that follows (with fashion press, buyers, and famous clients lining the stage edges) reflects her surroundings. This encompasses other travelers, railway staff, a grotesque statue, and stylish pigeons adorned with sculptural headpieces, designed by the frequent Browne collaborator, British milliner Stephen Jones.
In July 2023, Browne made his first appearance at Haute Couture Fashion Week, joining esteemed brands like Dior, Chanel, Schiaparelli, and Valentino. While many American designers might be anxious in such a prestigious setting, Browne remains calm and collected as he makes final tweaks on the models before the show and watches with contentment as everything is prepared. Unlike some fashion designers portrayed in documentaries who are seen rushing around frantically, giving orders and collapsing exhausted once the collection has been presented, Browne maintains a composed demeanor throughout the process.
In Holzemer’s film, the tranquil, seemingly perpetually composed and benevolent protagonist stands out as unique, yet this lack of turmoil or intense emotion presents both an advantage and a challenge. While it’s not essential for every fashion icon to be grappling with ongoing crises to maintain intrigue, the documentary is notably devoid of confrontations, dramatic moments, and personal insights that aren’t already known from previous profiles or public records. This results in a film that at times seems more like a promotional piece – a high-end one, but still lacking the grit and edge. It’s visually stunning, but it lacks the depth that keeps viewers engaged.
In early 2009, amidst the financial crisis, there was a fleeting reference to the possibility of shutting down operations, but the company managed to survive and recover. Regarding the failed lawsuit by Adidas accusing Browne of trademark infringement with its three-stripe design, Andrew Bolton, Browne’s partner and head of the Costume Institute at the Metropolitan Museum of Art, found it challenging to have his integrity called into question during the 2023 trial. However, there’s no indication that such an experience affected Browne personally.
As a devoted fan, I must admit that the movie comes closest to portraying authentic drama for me when MJ Rodriguez struts her stuff on the runway in a 2023 fashion show. A staffer, glued to the monitor, audibly gasps, “She’s not wearing a jacket!” However, this minor blunder is swiftly dismissed after the show, with the understanding that while Rodriguez donned an incomplete ensemble, she managed to pull it off spectacularly.
The document has a very comfortable and inviting feel to it. Almost all the people interviewed are introduced with “and companion” after their profession. Interviewees praise Browne’s exceptional tailoring abilities or his limitless imagination, his technical mastery or his bold conceptual ideas, his originality despite consistently starting from the foundation of a gray-suit uniform.
The situation seems rather familiar, with Pace labeled only as “Actor,” despite his marriage to Matthew Foley, Browne’s VP of Marketing and Communications. Anna Wintour consistently collaborates with Bolton for the Met Gala, where Browne’s custom creations often create quite a stir. Even the famous clientele appear to serve as advocates (though Cardi B is quite entertaining). This gives the impression that the documentary is meticulously managed, which can be risky when dealing with an authorized non-fiction film about a living subject.
A fresh viewpoint or a more critical opinion seems to be lacking. Browne’s eccentric Pee-Wee Herman-style altered suits were met with disapproval even in London, where the esteemed tailors of Savile Row found the drastically changed dimensions off-putting. However, the commentators merely express admiration or adoration, not criticism.
The movie’s topic being an authentic American success tale is somewhat comprehensible. However, it falls short in telling a compelling story as there isn’t much new information for those who are keen on luxury fashion. It resembles a coffee table book – abundant with images but lacking in substantial content.
It’s delightful to hear Bolton reminisce about their meeting and falling in love, as well as their evening ritual of meeting after work for a drink, ordering takeout for dinner, and typically ending the night with a movie at home. This offers a glimpse into their more personal lives. Notably, their home is a red brick mansion on Manhattan’s East Side dating back to around 1920, originally constructed for Anne Vanderbilt. They also share this grand residence with Browne’s dachshund Hector – the dog who gave his name to a handbag line.
If you’re new to Browne’s tale, the film provides an accessible introduction: it covers his beginnings in Allentown, PA; his competitive swimming years at Notre Dame; a short-lived acting venture in Los Angeles; and the modest commencement of his fashion line in 2003, operating out of a single room in New York City, starting with a small collection of five tailored suits that he showcased around town. At first, he faced ridicule on the streets and raised questions among even his closest friends due to his unusual endeavor.
Over time, Browne’s daring modernization of the classic gray suit, a staple in any well-dressed mid-century American man’s wardrobe, gained significant influence. Fitted jackets, tailored pants that stopped just above the ankle, and a hint of exposed ankle became common sights. As the brand expanded, so did the grandeur and dramatic flair of the fashion shows. The introduction of women’s wear further solidified Browne’s stance against gender boundaries. “There is no distinction between who wears what,” notes Wintour.
A significant turning point was the Spring 2018 collection, where Browne showcased male models wearing adapted versions of his women’s line. It was then revealed that men in skirts could exude power and masculinity. In the same year, Browne transferred a majority ownership of the company to Italy’s Ermenegildo Zegna group for a staggering $500 million.
Browne doesn’t delve into sources of inspiration – a point that Wintour addresses at the start of the film, stating that Browne has always been indifferent about others’ work, instead maintaining a singular focus on his unique perspective. However, he frequently revisits the fundamental concept of consistency, of constructing designs based on distinctly American aesthetics – athletes, businessmen, cowboys, prom couples, Upper East Side WASPs – and twisting them. Imagine oversized puff coats adorned with football jersey numbers; tailored plaid skirt suits adorned with lobsters.
Despite the document’s lack of depth in providing insights, analysis, or skillfully designed clothing, the visually stunning 20-year retrospective of Browne’s business career never fails to amaze and will surely captivate dedicated fashion enthusiasts.
The models embody the drama, whereas the performances offer a touch of fantasy. Fashion shows inspired by “Alice’s Adventures in Wonderland” or “The Little Prince” underscore that Browne’s designs straddle the line between childhood and maturity, innocence and wisdom. He notes that despite being generally cheerful and optimistic, a hint of melancholy is present in Browne’s collections.
A funeral-themed performance opens with figures emerging from coffins, narrating a tale about two women whose hearts are shattered. Since doctors couldn’t mend their wounds, they transform into angels, guiding them towards heaven while their fashionable friends gather to mourn. In another scene, a vast typing pool is set up, filled with identical desks; employees arrive for work, hanging their matching trench coats and sitting down at their identical workstations, each placing an apple on the boss’ desk as they finish their shifts. The production is both rigidly structured and playful in nature.
Wearability is not always a paramount concern, evidenced perhaps most obviously in a Paris show that pays homage to French tweeds while pairing them with an iconic male sports item. Men wear crop tops (or a tiny crochet bikini top in one case) with low-riding micro-minis or shorts, giving ample exposure to Thom Browne jockstraps and a good two inches of bum cleavage. The final runway look, traditionally the bridal spot, goes to a cowboy sporting a curlicued blue sequined phallus.
Although Browne may seem enigmatic in the movie, his designs eloquently convey a wealth of meaning, ranging from simple pieces to elaborate fashion fantasies. As one interviewee aptly points out, a crucial paradox that defines Browne’s work is his exuberant approach to uniformity: “He finds a way to celebrate sameness in an extravagant, indulgent manner.” The freedom for individual expression within this uniformity makes Browne’s clothing irresistible, and despite the film’s challenges, it remains captivating.
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2024-11-16 05:25