A raw, homespun thread has wound its way around Jonathan Anderson’s collections of late. They’ve had a naïf, medieval feel with the designer looking at simple shapes like the tunic, the cape and scarf — and experimenting, changing proportions, embellishing, layering or cutting away.
He continued to mine those ideas for spring with a collection that had a medieval mood, with dresses the color of unpolished silver and gold, and chunky crystals covering fabric belts as fat as sausages and the pocket flaps of sculptural jackets. Strings of colored yarn swung from capes while crude sparkly circles, or figure-eight shaped harnesses, adorned dresses.
Anderson said the collection was all about the gaze, about watching things appear and disappear, and the idea of the ephemeral. There was certainly a lot to look at here, from those big shiny swirls plunked onto double-breasted coats and jackets to the harness tops encircling models’ breasts on long, ragged-edged gowns and the silvery, superhero capes that sat atop tailored coats.
Taking cues from the Canadian artist Liz Magor, whose conceptual work was displayed in the center of the show space, Anderson said he wanted to explore “the idea of how we perceive things, how we look at textures and how we see jewelry, how jewelry becomes armor, or becomes more sensual and how it can be worn in a different way.”
It was clear Anderson was having fun what with all the weird and wonderful pieces here: the thigh-skimming wooly slipdresses, trousers so long they got mixed up in the straps of sandals and dresses with 3-D daisies bursting from the tops. Here was a compelling case for not tying up loose ends.