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Thom Browne’s models moved slowly and deliberately through the Hôtel de Ville to the beat of Madonna’s “Vogue.” For fall 2018, they were dressed in his signature shades of gray and white, and they wore clothes that played with the traditions of masculine and feminine attire, using the vocabulary of France’s highest fashion order: haute couture. It was a gender-blending collection, but not in a manner that drains the vigor and grace out of clothes. He did not offer up the kind of shapeless garments that, while freeing themselves from the constraints of the patriarchy, are also wiped clean of their humanity.

In Browne’s version, tailored gray suits are spliced with hourglass skirts and molded corsets. Man and woman combined. Traditions merged. The trappings of both masculinity and femininity are brought together in all of their formal, buttoned-up, bound-up rigor.

The clothes reflected Browne’s version of history, with references to statuary and goddesses on pedestals. But they were viewed through 21st century eyes and a cheeky sense of humor that included the placement of a bit of bedazzled jewelry where there would otherwise have been a visible nipple.

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