“It’s about doing something new, working with architecture and proportion. For me, it’s about mastering a silhouette. It’s like I can’t get it out of my head,” said Jonathan Anderson. He was referring to his show’s opening sequence of high-waisted, frilled-hem shorts that came with stiff wool staple-neck sweaters and black frill-top riding boots. Anderson riffed on his past women’s wear collections, and played his gender-bending game once again, putting his models in shoulder-baring bandeau tops, and in one gray tunic that was really a sleeveless minidress. Although he was resolutely pushing boundaries, there were some smart classics here, too, especially the pumpkin trench with a white collar, and unstructured overcoats in peach and sky blue. His fabric choice included wool flannels, cottons, Neoprene and leather — both high shine and matte. Knits came either with an intarsia design of a white picket fence, or very fine with a neat tuck at the center front.

“It’s about doing something new, working with architecture and proportion. For me, it’s about mastering a silhouette. It’s like I can’t get it out of my head,” said Jonathan Anderson. He was referring to his show’s opening sequence of high-waisted, frilled-hem shorts that came with stiff wool staple-neck sweaters and black frill-top riding boots. Anderson riffed on his past women’s wear collections, and played his gender-bending game once again, putting his models in shoulder-baring bandeau tops, and in one gray tunic that was really a sleeveless minidress. Although he was resolutely pushing boundaries, there were some smart classics here, too, especially the pumpkin trench with a white collar, and unstructured overcoats in peach and sky blue. His fabric choice included wool flannels, cottons, Neoprene and leather — both high shine and matte. Knits came either with an intarsia design of a white picket fence, or very fine with a neat tuck at the center front.

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