Scene setting: Adding to the Joan Miró walls and Alberto Giacometti sculpture that decorate Hall Ségur of Paris' UNESCO building, Jonathan Anderson brought in a selection of artworks that included Siobhan Hapaska's Repressed Apple; Richard Smith’s Both Halves; and Mo McDermott’s Trees, in addition to nude 1950s photographs by George Platt Lynes, which were set against the venue's angular concrete pillars. Making himself further at home, Anderson also curated a selection of house plants, while the audience's concrete stools were sprayed gold or cobalt blue, with the odd Perspex version filled with a quirky mix of household paraphernalia.
Mood board: There was an organic elegance to Anderson's stellar presentation that soaked up the modernist codes that we've come to relish from this hot ticket designer. A primal undercurrent was central to winter's utility ethos, but not just from the masks that hung around models' necks. It was also felt in his leather corsets (fit for an ancient Egyptian queen), tasselled tweeds, raw edged handkerchief hems, looped chainmail skirts, and in his fabric choices that shifted from organic bamboo jersey to a padded twill.
Finishing touches: Each heavily curated look was layered to the hilt with accoutrements that ranged from gold medallion patent points to witty hand-painted resin cat pendants. His backless, silver court shoes will also be fast movers in the shoe department. New to the sac spread were three multi-pocketed spins on the classic Amazona, along with the debut of the Joyce bag, complete with a shiny gold logo plate.
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