Hope, Feathers & The Poetry of Thom Browne’s Tailoring

Thom Browne, Fall 2025 Ready-to-Wear

Two thousand origami cranes suspended in midair, two models cloaked in monochromatic grey—this isn’t just birdwatching; this is Thom Browne. It’s time to sit back, observe, and witness a sighting like no other, at least not for me.

At the heart of the stage, two models sit poised, encircled by a sea of delicate cranes. In Japanese tradition, folding 1,000 cranes symbolizes hope and healing—a motif that is intricately woven into the deeper narrative of the collection. Thom was explaining this to Valeria, the model I dressed just a few minutes prior. 

At first, the bird references were subtle and abstract, mostly noted in the silhouettes, while the opening look presented an immediate display of Browne’s signature precision tailoring, with an avant-garde edge that blurred the boundaries between classic and conceptual. A grey wool blazer with a couture-like silhouette mirrored the soft curves of a bird’s chest, while sculptural shoulders evoked the imagery of wings mid-flight. “I really wanted the collection to feel very classic in the ideas, but then in the execution, not so classic,’’ expresses Mr. Browne. It was paired with a matching floor-length skirt and a dachshund-shaped purse. 

Emily Dickinson’s “Hope is the thing with feathers” is softly read aloud as the show progresses, allowing pauses for the looks to walk in and the music to blend seamlessly. As I watch the show unfold on a large screen, surrounded by the designers and the team behind the collection, I can’t help but feel like a birdwatcher myself—waiting, observing, and admiring each piece as it takes flight.

I continue to watch, captivated by the full looks unfolding. One striking moment arrived in the form of a voluminous, deconstructed pink-and-grey plaid blazer dress layered over a light blue button-down, cinched at the waist with a tie, creating a bold silhouette that felt at once modern and unexpected. So striking was the design that the model chosen to walk the runway nearly fainted backstage at the sight of the tremendous outfit she was about to strut in.

Intricate bird embroideries and elaborate red intarsia knit designs began to soar through the collection, their whimsical presence subtly reinforcing the theme of flight and freedom, with feathery eyelashes and painted lipstick beaks adding that touch of playfulness. Note an oversized light grey plaid trench coat underneath a color-block dress composed of satin bands layered like the overlapping feathers of a bird. 

As the show unfolded, the theme became more literal and more colorful. English herringbone, glen plaid, houndstooth, and windowpane check fabrics were developed especially for the designer and were playfully mixed and matched throughout the looks. A striking maroon-and-olive green ensemble showcased a structured jacket adorned with duck-inspired embroidered bird motifs, perfectly complementing a maroon wool blazer dress that featured similar embroidery. 

And then came the finale look—a gold bullion embroidered jacket and a 40-meter tweed ball skirt, which was worked on up until the very last minute of dressing. It went silent, you could feel in the room just how proud everyone was. It was a moment that felt almost sacred. The lights dimmed. The two models at the center rose, pushed in their chairs, and walked backstage. As I followed, I found myself helping Valeria out of her look—one final backstage moment at my first New York Fashion Week. Quite a way to fly back down south. 

To view the full collection visit: https://www.vogue.com/fashion-shows/fall-2025-ready-to-wear/thom-browne