Scene setting: With the chirp of bird song greeting show goers, it was immediately evident that JW Anderson had been cleaning house for spring. Not only had last season’s wood paneled runway divides been newly painted sage green, under foot the blonde parquetry floors had been tirelessly buffed to receive guests.
Mood board: Gather round because this season Anderson spun another tale of divergent references that once again came out of the spin cycle freshly scented with covetability. To start there was a homespun rawness to the collection’s hempish fabric focus that was best seen in his spiralised skirts and a white handkerchief hemmed ensemble that resembled pieced-together table linens. However, the organic charm of these pieces was juxtaposed with techno tunic tops and dresses that had been ombre dyed, resembling a sunset, and gathered down the centre like bistro curtains. Jackets, on the other hand, possessed far more structure. They were corseted, shirred or ruched, and possessed sleeves that were puffed up with plenty of Shakespearean drama.
Finishing touches: Anderson is now doing a bountiful business in accessories – his JWA logo shoulder bags and roller heeled mules were well represented on the front row. Summer season aside, this time around it was all about architectural boots on the runway, which came with cubic heels and squared off toes. Some featured leather checkerboard patchworks, while others were entirely hand painted. A midi heeled, lace-up ballet pump was also in the mix – it’s a ‘walkable’ height that’s proving to be a sweet spot at retail. Not to be overshadowed by Anderson’s jangly silver drop earrings – worn solo – which looked like pinecones and Christmas bells had spawned an offspring.
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Photography: Jason Lloyd-Evans