Thom Browne - Why He Loves Slim Suits and Hates Fast Fashion April 09 2016
A Q&A with one of menswear's modern masters.
For spring and fall 2016, he's teamed up with Woolmark to create a capsule collection that falls on the latter end of that spectrum: traditional(ish) tailoring made from the company's lightweightCool Wool, which should have the suit-wearing public feeling pretty good about life when things heat up outside. We caught up with Browne to talk about how the partnership came together, what it feels like to be the man who helped launch the slim suiting trend, and why he hates fast fashion.
Esquire.com: You've teamed up with Woolmark in a bigger way for spring and fall 2016, but you've been working with them for a while. How did that relationship start?
Thom Browne: They're very supportive of young designers; that's how it initially started back in 2006 and 2007. The relationship has gone on for this long and will go on because of their attention to making beautiful fabrics. [The current collection] was very easy, because I use so much of their fabrics as-is. It wasn't something that I had to consciously really think about; we just positioned certain items and looks within our collection as special to Woolmark.
How did you decide on the specific pieces?
I wanted to make sure the items were iconic to my collection. Things that, when people saw them, were true to who I am as a designer. So staying more towards the classic pieces: a navy sport coat, a Prince of Wales suit.
Would you say they're seasonal pieces, or more year-round?
Definitely year-round—that's the way the world is now, and the way that you have to approach collections. There are so many collections per year. There are four that I do for men's: two pre-collections and two collections. The deliveries in stores sometimes don't match the seasons, so you have to design into almost a yearly season as opposed to a fall and spring season nowadays.
I actually wanted to ask you about that increased pace and having more collections now than we used to. You didn't do pre-collections in the early years.
No. I've been doing the pre-collections for about two years.
How does that kind of pace affect things? You see designers lamenting it, leaving big design houses—is this something that the industry can't sustain? Or do you like having more opportunities to explore your ideas?
I think everybody should approach it his or her own way. It is added work, and the schedule is relentless: It's basically a yearly schedule, and it's not like you get time off. You don't have to do pre-collections, but if you want to grow a business, you do have to approach it in a way that puts things in stores for the customers. So to have new product going into stores fairly regularly is important—not only for the customer, but also for the stores to have a little bit longer time to sell the product. I like it, but also my collections and pre-collections relate to each other. It's not like they're totally schizophrenic, and when they're both on the floor at the same time they do live together. Ultimately it's more of an opportunity to get your product in front of people. So I've embraced it and I know that it's worthwhile, but everyone has to approach it his or her own way.
Speaking of approaching things in your own way: You're known for a slim, cropped cut. When you first introduced that to the marketplace, a lot of people followed suit, and menswear in general has been slimmer and shorter for a while. But now it seems like things are shifting to be a little longer and looser. Do you look at that and think about changing your aesthetic?
I mean, this is me, and I will always do this. It was never a trend; it was always a timeless approach to how I like the proportion of the jacket and trousers. So this is always going to be what I give to my customer. Every season, of course, I do play with proportion within the collections themselves, but the classic way of how I approach my tailoring is always going to be the same.
What is it about that look that you find so compelling?
I just like the proportions. It's a personal thing to me and it's something that's timeless. The use of that proportion is more specific in how I wear it; but in the more classic things that I do, the proportion doesn't change—it's just not as severe as how I wear it. There is a more classic way of wearing it and I have a lot of customers who have it tailored for wearing it to work or an event. As long as the proportion doesn't change in regards to the lines of the jacket and trouser, there are a lot of ways to interpret it.
What does it feel like to be on the leading edge of something that becomes such a major trend? When you saw that shift in tailored clothing years ago, did you ever have a moment where you said, "Yeah, I caused that a little bit"?
It really comes down to it being nice to see that you're doing something that people recognize. I set out at the beginning to make sure that I did something that was somewhat important and that people did recognize, but it's not like I sat back and had a brand plan on changing the world of tailoring. It's something that I just wanted myself, and I knew that it was different from what other people were doing and what other people wanted. And when you do something that personal, I think there is a reason why people will at least look at it, and hopefully understand why you're doing it.
Did you ever find it difficult, when the market was saturated with those slimmer and shorter designs, to stand out in that landscape?
No. Because it was always mine.
Do you pay attention to the rest of the market or do you try to stay mostly in your own world when it comes to design?
I am the worst when it comes to knowing what's going on. And I consciously don't want to know what's going on, because I think it's a lot easier to stay true to yourself if you just do what you do and focus on that.
Where do you look for inspiration, if not in fashion?
Architecture, art, movies, real people, real things. I'm never really influenced by fashion.
For the fall 2016 collection, you said that the idea was reinterpreting the idea of a group of men at a gentleman's club. There's a lot of room for interpretation there, so how do you go from that idea to actual execution?
Well that's only a small bit of the story. The main story is these men in the '20s through the Depression into the '30s, and how they appreciated the clothing that they purchased and had made for themselves in the '20s. And how, through the Depression, their priorities shifted in terms of not being able to afford to buy new clothes—how they loved the clothes that they had, and really wore them and really appreciated them. And they were so beautifully made that they still could wear them, and the way that the clothes aged made them even more beautiful sometimes than when they were new. So the story is really more of the appreciation of really well-made clothes, not really that these guys are part of a gentleman's club; that's just where I placed them.
That feels very prescient in this day and age, especially considering the influence of fast fashion. Is that something you were thinking about specifically?
No, but I wish I did. [Laughs.] Because I can't stand the world of fast fashion. I wish people would spend money on more important things than the disposable clothing you get in those retailers.
When you say more important things, are you talking about better-made clothes? Experiences? A combination?
Experiences, better-made clothing, maybe contributing money to worthy charities—something that's a lot longer-lasting than a T-shirt that's going to disintegrate in a week.
-From Esquire April 2016