If talking of good drama, Thom Browne knows how to amuse the viewer. For AW15 venue, the enfant terrible of New York’s fashion scene presented his extraordinary show in Victoria era seminary, where “doctors” gave life to the patients. Also, the guests had a chance to be present on the funeral of a mafioso – every model was dressed head to toe in black, with veils on their faces. And, no, he said, he did not see the new all-black exhibition at the Met, where his partner, Andrew Bolton, is a curator; he purposely avoided it, so as not to be overly influenced. The sadness brought by Thom Browne in black colour was meaningful – opposite to Alexander Wang’s recent retail-friendly collection, the darkness felt emotional, beautiful and ironic at the same time. Each outfit offered something for the eye – a  swingy jacket edged in thick beaver fur worn over a tweed mini and cardigan; an overcoat of black wool bouclé edged all around with frayed silk; warm and sublime wool dresses; coats horsehair fringe, and a jacket in a wool woven to resemble astrakhan and then embroidered with tiny black beads and deep green feathers. The veils were impressive, too – they all told a story.

Thom Browne’s AW15 was a totally different experience than his SS15 – the season before, full of green and flowers, brought cheer. AW15 is utterly different – it’s dull and gloomy. But both of them are ultra-couture if talking of craftsmanship and represent fashion as art. Thom Browne owns that.