Just like London, with its perpetually torn-up streets and a skyline studded with cranes, J.W. Anderson’s collection was one big work in progress — at least that’s how he saw it. Anderson’s materials may have been softer and sexier than the average builder’s — feathers and chain mail among them — but the idea remains the same. London doesn’t stand still for a minute — and neither does Jonathan Anderson.
In the space of just a few weeks, he’s moved from a signature men’s collection that was all colored patches of macramé, chunky knits and cocooning shapes to a women’s lineup of light and fluttery silhouettes, tucked here and slashed there.
Anderson described the collection as a style odyssey. “You have this idea of something that is uberfeminine, but at the same time it can crash, and then it kind of builds itself up again. It’s this idea of stripping it right back to an outline silhouette — something very reduced — and then you start to build it up again,” the designer said backstage to describe the sleek looks done in materials such as fur, leather, nylon and silk.
Dresses ranged from the workwear-inspired to the arty and fantastical. Some were done in nylon with full skirts, drawstring waists and pocket details around their halter tops, while others were long, with asymmetric hems and gold or silver patterns, shimmering like a Klimt painting.
Some dresses suggested saris, with floaty scraps of scarf at the neck, while other togalike ones were made from delicate drapes of fabric — silver chain mail, mannish brown pinstripes and liquid white silk. Red printed dresses were adorned with big puffs of gray ostrich feathers.
There was fur and leather galore: Short shearling jackets; cropped, shruglike leather ones, and a big dappled fur coat that looked like it came straight from the set of “The Royal Tenenbaums.” It was one of the most commercial and appealing collections yet from a designer who simply can’t sit still.