By the time the last plate of dessert was cleared from Le Grand Véfour, something subtle had shifted. Thom Browne, ever the architect of restraint and ritual, had done it again—not with fanfare, but with intention. On June 30th, beneath the timeless golden glow of the Palais Royal, Browne’s “Summer Curriculum” unfolded like a soft-spoken manifesto. No runway, no flashing lights. Just a linen-covered table, a gathering of culture’s current muses, and garments that whispered rather than demanded.
The night didn’t ask for your attention—it held it. Guests included Maggie Rogers, Myha’la, Kemio, Lucky Blue Smith, Jack Innanen, and Miyako Bellizzi, all playing different parts in Browne’s sartorial lecture. Some were influencers, others artists, all orbiting around a common center: the reimagined uniform.
This wasn’t about spectacle. It was about construction—the kind you feel in the drape of an oxford shirt over a knit polo, or in the quiet contrast of lemon and sky-colored fabrics against traditional tailoring lines. Thom Browne has always been a conductor of codes. But in this summer chapter, he let color soften the formality. Think crisp shirting paired with sorbet-toned knitwear, seersucker balanced by varsity-striped socks, and jackets that seemed to sigh rather than stiffen.
Every guest at the table wore a variation of the theme. And like any well-designed curriculum, it was equal parts structure and openness. The Summer Curriculum wasn’t a reinvention—it was a refinement. It asked, what happens when you loosen the uniform just enough to let individuality in?
There was something gently rebellious in that question. In a world that’s always shifting between chaos and control, Browne offered a kind of balance. He reminded us that discipline can be generous. That style can be sharp without being cold. And that perhaps the most radical thing one can do is show up—calmly, classically, and entirely oneself.
