Jackson Wiederhoeft's designs are not for the faint of heart. They're not entirely comfortable, not easily digestible. What they are, though, is exciting:
Working in the design development department, Wiederhoeft had his hands on all 12 collections, collaborating with every other division, from accessories to footwear, to breathe life into Browne's vision. Say Wiederhoeft created an anchor accoutrement that Browne himself felt represented the energy of the season — it was Wiederhoeft's job, then, to help incorporate said "embroidery" throughout the range, whether on purses or atop cardigans.
"The tailoring was very rigid, but there was so much freedom within the textiles," he says. "There's always the classic suit you have in every collection, but it was really down to the embroideries and surface design, combined with the show, that made things different from season to season." To work at Thom Browne is to be entirely submerged in the Thom Browne universe. It is, as Wiederhoeft says, both a mindset and a practice, and however valuable it was, it didn't always leave much room for independent creativity — or for Wiederhoeft to plot an adventure of his own.
"I had been sketching my first collection at my desk on Post-it Notes the whole time I worked for Thom," he says. "It was all in. I was very invested, obviously, and that was great. But after I left, I was kind of like, 'Okay, ITwo of those seven have been dedicated to bridal, which, today, comprises 95% of his business. The Wiederhoeft bride, he says, is "an old-fashioned girl with an old-fashioned mind, but always iconoclastic in her own way.
"When we tend to think about an early starting designer who's coming out of New York, there's often either this extreme underground sensibility, or there’s an extreme sportswear, 'I'm-dying-to-get-into-
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