ニューヨーク・タイムズのインスタグラム(nytimes) - 3月6日 10時41分

Sunday night in Paris, Thom Browne made an utterly convincing statement about female strength and sexuality. He may have been an ocean away from the Academy Awards, but it was as theatrical as any film, and as potent. It began in a vast ballroom of the Hôtel de Ville, Paris’s city hall, with a central island filled with canvases propped up on easels. Out came a procession of painters — imaginary doppelgängers of Élisabeth Louise Vigée Le Brun, Marie Antoinette’s favorite portrait painter and a woman who made her way in a man’s world — in beige jackets and gray bloomers, the legs exaggerated to hoop-skirt size, their hair jutting back in towering cones. It was less a fetishization of the female body than a demand for recognition of the feminist form with a touch of levity. There’s been some rumbling this red carpet season about women taking political positions in evening gowns while still exploiting their “assets” — as The Daily Mail says — in the classic cleavage-and-curves way. Browne backhanded that out of the room. There’s a revolt of sorts happening at the tail end of a fraught fashion month. Designers seem increasingly unwilling to shut their mouths and just make pretty clothes. This is their soapbox, and they’re speechifying with their seams. @fashionperv took this photo of #ThomBrowne’s show during @parisfashionweek. Visit the link in our profile to read more.

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