For his spring collection, Jonny Johansson turned to nature, considering the evergreen question of how to reconcile modern life with the tug of the natural world.
“It’s a lot about the connection to nature — that I feel we’re all interested in,” he said. He sought to capture a feminine aesthetic for the theme, which he described as a way of dressing in a “more sensitive, layered way than a protected, city way that would be more graphic.”
The resulting lineup was a fluid display of the house’s expertise, channeled into a frayed, knotted, repurposed, and, ultimately, richly textured universe. Sweater vests and gowns were knitted intricately to evoke a distressed feel. Leggings splayed out at the bottom to cover the feet and carried extra seams in odd places. So, too, did dresses, with pleats stitched through the fabric like veins, or folds. Familiar symbols, like Western belt buckles, were blown up, becoming embellishments on sandals that had straps poking out everywhere. Softness came from a profusion of suede and linen, while jacquards and denim added structure. Reproductions of 19th-century paintings by August Strindberg were pressed onto clothing, depicting the murky side of the city or celebrating nature in the form of a lone mushroom — which was stitched onto various pieces.
For his tailored pieces, he used bulk with precision, puffing out the sleeves near the shoulders, but tapering them in toward the wrist — the arm scrunched up to the elbow. Some accessories were plucked directly from nature, a stray feather floated along here or there, while scarves were like elongated cotton hankies, rolled and twisted, wispy at the tips, adding to the natural, unevenness, and psychedelic flavor of the collection, which closed to Jefferson Airplane’s “White Rabbit.”