Men’s – Moving Bodies. JW Anderson AW19

Undoubtedly, Jonathan Anderson‘s leap from London to Paris resulted in an even more uninspiring men’s London fashion week this season. Well, good for the latter. J.W. Anderson kicked off the Parisian schedule with a brilliantly diverse collection, made up of the boys’ autumn-winter 2019 and the girls’ pre-fall 2019. At a first sight, ‘chaos’ is a word that comes to your mind while going through the collection. The models wore medieval-esque hoods with over-sized bermuda shorts, boldly striped tops and huge bracelets. Another look had fringed trousers, an exaggerated sailor collar and an absolutely distorted knit that no longer can be classified as a sweater. The women’s part was rich in polka-dots, XXL shirting and equally voluminous dresses worn over hoodies or with huge pussy-bows. The venue, filled with Paul Thek’s art installations, was a mash-up of vintage rugs, floor drawings. And of course, there was this huge, balloon globe. Everything here seemed to be full of some unidentified energy. Those garments had the vibrance that instantly reminds of Bodymap, the London-based brand that was on everybody’s lips in the 80s. Whatever stood behind the collection this time around, one thing’s clear: Anderson does it again. The strange and odd looks familiar and desirable. I’m extremely looking forward to get those zebra-print socks.

Collage by Edward Kanarecki.

Touch. JW Anderson SS19

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J.W. Anderson‘s spring-summer 2019 collection is one of those harder to comprehend, sophisticated line-ups. The designer, Jonathan Anderson, “wanted something a bit more bohemian.” He continued backstage of his show, saying that he wanted “a celebration of fashion. Everything with fluidity to it, a patch-worked, somehow“. The complexity of those garments, or rather, the way they were put together, was deeply rooted in the multiple combinations of textures, fabrics, colours and so-called ‘fashion conventions’. Flowing maxi-dresses were styled with white gloves and over-sized t-shirts, while the over-sized shoulders were even bigger than usual, ultimately distorting the proportions. Pin-stripe shirting looked soft and feminine, meanwhile the ‘unfinished’ hems of skirts brought rawness. This collection was also close to Anderson’s work at Loewe – here, we also had a great appreciation for craftsmanship, which tactility you can only truly feel by touch. At a first glance it seemed to me that every element of this collection is somehow ‘in conflict’. But then, taking a second look, made me realise that that’s the essence of J.W. Anderson, as a person, and as a brand. Edgy, even disturbing, gradually becomes beautiful.

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Collage by Edward Kanarecki.