Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
Scene setting: Granted that last season's indoor garden setting was a hard one to beat, Thom Browne managed to one-up himself by creating an eerie, Victorian-gothic morgue, surrounded by a wood-paneled viewing gallery. In each of the three presentation areas, a girl laid still on top of a metal examination table, as a pair of male angels watched over her, all dressed in white.
Best in show: The real show began when the tables were wheeled out and a funeral procession of mourners descended. Set to one continuous track from Bjork's new album, each of the looks was comprised of complex, multiple layers of exquisite and intricately finished fabrics - all in black. From a lace driving coat trimmed in black mink, to embellished mini dresses (long sleeved, of course) and pinstriped suits that played with proportions, the collection was one dark, unbroken reverie.
Finishing touches: Browne's stunning sartorial creations were each finished off with hats and veils created by Stephen Jones. Shaped to resemble different hairstyles, the adornments brought a graphic theatricality to the looks and were a fascinating aspect of the collection themselves. Handbags came in the form of embossed leather doctor's bags and even whale-shaped (Browne's motif of choice), for a touch of whimsy.
Photography: Jason Lloyd-Evans
