The decoration of Browne’s looks was awe-inspiring, at the levels of both inventiveness and craft. The reiterated jackets and pleated skirts were collaged together or embroidered in ways to evoke Mount Fuji landscapes or patterns of cherry blossom or koi or Edo-style illustrations of geishas. Certain looks expanded the canvas of the clothes to include intarsia minks. Others, like the jaw-dropping ribbon-embroidered pastel sack jacket, gave a more abstract, watercolor effect. The techniques and the silhouettes varied, but a sense of uniformity prevailed—a sense Browne imparted purposefully, of course. There’s undoubtedly a pair of trousers languishing in the sales collection associated with the one Browne showed on the catwalk, but the story Browne was telling at his show was emphatically one of jackets, pleated skirts, coordinated long button-downs worn as layering pieces, and frequently, a coat. The individual garments betrayed Browne’s idiomatic sense of whimsy and wit, but as a whole, they towed a party line. The only exception was in the finale look, a radiantly iridescent confection of floor-length layered pleats. This was the schoolmarm, and by the time she emerged from backstage, Browne had more than made his point. It’s a credit to his artistry that it was a pleasure to see it underlined.