New York's Edgar Allan Poe-themed finale ends on a high note

The recent New York Fashion Week faced its fair share of hurdles, from scheduling errors that caused conflict for attendees, to issues with location and logistics. Although there were logistical complaints, event organizers have responded by stating that scheduling and locations were outside their hands. The navigation of shows was particularly difficult considering the interest in the outer-boroughs that currently dominates New York. Yet, despite the complaints, certain collections on Wednesday stood out and impressed.

Thom Browne highlighted his Men's and Women's Fall 2024/2025 collection, dubbed "The Raven", on Wednesday. The show was held at The Shed, featuring a 30-foot-tall Chesterfield-style puffer jacket display, a barren tree, snow scene, and a large grimy window that served as the models' entrance to the runway.

Guests were treated to a recitation of Edgar Allan Poe's work from actress Carrie Coon, while Browne's main model, the Raven, made her appearance. She was dressed in a shredded tuxedo stole made of mohair, silk, canvas, and lining, with a beautifully detailed ensemble that included feather-like ribbons on a crepe wool skirt, combined with a top hat covered with blackbirds and tulle.

Browne later spoke about his dark, yet romantically beautiful collection. He explained his aim to demonstrate his American roots and his desire to incorporate the works of Edgar Allan Poe, a prominent author in American literature. Browne also revealed that the purity and delight brought by the appearance of four children, who emerged from a teepee structure and scattered 'bird seed' confetti, added a light and joyous element to the event.

Browne also took inspiration from Georges Goursat, an illustrator, which resulted in intricate designs, extension of traditional clothing pieces and a demonstration of Browne's commitment to his own unique stylistic approach. The collection contained inventive takes on classic garments, such as suit jackets and skirts, with a focus on Victorian Waistcoats and black and white plaids.

Speaking of the prominently padded and wide shoulders that Browne incorporated into his designs, they were said to seem like a raven preparing to land. Additionally, certain words from the poem, like 'nevermore,' appeared across a jacket amongst more of Browne's noteworthy designs. Various accessory pieces, such as platform booties, men's brogues, and various handbag designs, covered in plastic, rounded off the collection in the brand's unique, whimsical style. The walking sticks used in the show were naturally fitted with golden raven heads.

A group of cocoon cape-style gowns introduced a final look on gold, primarily the only color in the collection. "The mood of the collection lent itself to a black and white collection, but also, I was challenging myself by taking the two colors and making sure there was a lot of depth in each," he explained, offering this for shiny metallic last look.

"That was the end of this season's episode of the Thom Browne story hour; maybe next time I'll explore another Poe poem, "The Golden Bug," maybe, we'll see."

In a daring move, Brandon Maxwell chose one of the out-of-the-way locales that, until now, was strictly Gabriela Hearst's territory, the Brooklyn Navy Yard. It's recently repurposed as a movie and TV production hub and is like a small town. Backstage, Maxwell explained the move, which swayed in white carpet with 40-plus feet tall white panels flanking the top of the runway, arguably made for a dramatic show space—more so than the Agger Fish space—and was very much about creating a thread from the previous collection.

"For my spring collection in September, it was a white box and really tight with around 93 people, so this space is the bigger version of the idea in terms of space. I started each collection at the same time," he told FashionNetwork.com post-show.

Maxwell maintained the similarities ended there despite the gentler moods prevailing. "For Spring, I was in an angry place, going through some things as you do when you are 39. and There were hard knots with the jewelry, but it was also soft and drapey. I've been exploring that space between hard and soft. When the brand started, it was very structured, rigid," he reflected, noting that the hardness gave way to personal strength and a gentler approach.

The layered hem of the opening dress in white floated down the runway like waves crashing on the shore (punctuated by fire engine red pumps that checked many of the looks and was a nod to Maxwell's childhood obsession with Dorothy from The Wizard of Oz.)  The dress's bodice featured unfinished pattern edges that created a soft flap while also form-fitting on the upper body, demonstrating the tension.

The two prints of the collection were plucked from images Maxwell took on a trip to the Southwest, where the designer had an aha moment of finding beauty in nature's destruction, one of which was of mountains. This clarity has seeped into the approach: a tightened show lineup from 53 to 35 looks and a showroom full of auxiliary pieces to launch a strong sales market. "An exploration of hard and soft; that is where I am. I am focused in my life post-pandemic and post-other things, and I have a renewed focus on this brand that bears my name," he added.