Designer Thom Browne Talks Humble L.A. Beginnings, Hollywood Ambitions and His Prestige Doc ‘The Man Who Tailors Dreams’

Documentaries centered around the fashion world – in particular, the often-enigmatic designers that power it – have become a powerful subgenre in the nonfiction space for a decade and more.

Designer Thom Browne has long been admired as an American classic, but has more recently become a red carpet fixture and the object of obsession of Hollywood’s A-list. Two-plus decades after his very short pants suit provided a menswear companion to the iconic DVF wrap dress, Browne is seemingly everywhere – from the kitchens of “The Bear” to the ubiquitous stairs of the Met Gala.

This year marks his own turn in the doc seat with “Thom Brown: The Man Who Tailors Dreams, “ which premiered as a special presentation for last week’s DocNYC film festival. The film, currently seeking distribution, is directed by Reiner Holzemer. No stranger to the high fashion world, Holzemer has turned in nonfiction projects on designers Dries Van Noten and Martin Margiela.

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“Tom is a very mysterious guy. Everything that’s inside of him sort of manifests through his clothes. Like many artists, everything he makes is a bit of a self-portrait,” Holzemer said.

Variety spoke with Browne on the eve of his big premiere, to talk humble L.A. beginnings and if he’ll ever make the crossover from runway to the director’s chair.

It was interesting to learn you got your start in L.A. working in production, I feel you’re so identified with New York. Why didn’t it work out here for you all those years ago?

So many times, I was told that I looked like I didn’t need a job when I needed one so badly. But because I was wearing a similar version of what I started designing In 2003 – which meant taking vintage clothing and playing with proportions – everybody would say “You’re always so dressed up. Why do you need a job?”

Judging people by looks doesn’t sound like L.A. You’ve become so enmeshed in a world of A-list stars and artists over the past few years. Was that intentional?

It’s been very organic. They are all either initially customers, or they are friends. It’s been very easy, because we don’t impose on them. I think our brand resonates with people because it feels very real.

You’ve obviously got a great sense of aesthetic and, as Anna Wintour says in this film, a specific point of view. When will you make a movie?

Whenever I have time. I’m still so busy with my day job. Making a film is something I would have to really give justice and time to, but I would say [someday] absolutely.

We’re seeing a lot of prestige houses launch production divisions, like Saint Laurent. Is that something you see in your future?

I feel my shows are very small productions on that scale, and I do one of those very couple of months. I feel like we’ve started, in that way, in how we approach our [runway]. You’re getting a taste of it with every collection.

Fashion documentaries, particularly about influential designers, have become a powerful subgenre over the past decade. Why did you agree to do one?

It was really because of Reiner Holzemer. I was familiar with his docs on Dries and Margiela. I never thought I’d do one, but he came with a proposition and because of him, I said yes.

I heard the one place you wouldn’t let him film was your morning coffee spot, Saint Ambrose in New York.

I don’t know how reality TV people do what they do. There must be some things you keep away, a little bit of mystery. Who wants to know everything?

Your partner Andrew Bolton, curator of the costume institute at the Met, is featured in this film. he mentioned you used to get laughed at the airport for your signature short suit pants. Has he seen the final product?

I still get laughed at at the airport. He thought it was good. We’re both really glad that what comes through in the doc is the work. That’s the thing I’m most proud of, showing how it’s done.

A big part of your brand is that you represent a thoroughly American designer. How do you feel about the state of the country, and what gives you hope?

Everybody is different. I just focus on working and having a really nice, quiet life with Andrew. That’s how I deal with it.

The doc shows us that you’ve incorporated sociopolitical themes in past collections.

I’ve never gone into a show wanting to make an overwhelming political statement, but I have done collections that have, political leanings regarding the world we live in — with men and women just being a lot more evolved than when I even started. My hope for this film is that people outside my specific world, outside of fashion, see and are inspired by the work. People are hungry for that.