Thom Browne makes his couture debut, while Schiaparelli, Dior and Iris Van Herpen spin their own dreamy tales.
In 1955 the idea of the gray flannel suit as the symbol of the soul-deadened corporate drone entered the American lexicon thanks to Sloan Wilson’s novel, making it pretty much impossible to look at that particular item of clothing in a neutral way ever again. It became the stand-in for our skewed work-life balance, the triumph of business over imagination. It got, it’s fair to say, a bad rep.
For the last two decades the New York designer Thom Browne has been trying to change all that: first, by shrinking the proportions of
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