We’ve had rustic grunge, we’ve had spiritualised Sixties, now in his third season of showing womenswear – and first upon the catwalk, what’s next for Jonathan Anderson? The piping hot-ticket of the Portico Rooms’ small scale catwalk schedule presented a boundary rebuffing collision of gender and subculture, masculine and feminine, heritage and seditionaries.
A natural evolution considering the skirts and bustles of A/W09-10 and S/S10’s respective menswear showings, this no constraints notion manifested in fragmented and patch worked pieces that bounded with duality. Kicking off with a navy knit two piece – crew neck knit cut second skin tight, long sleeves stretching to the wrist, poised pencil skirt reading adult – the addition of a pleated panel, flailing from the hem and a nonchalant tied waist commenced a symbolic tussle between sober and symbolic.
Shifts were rendered in mohair with lamb fur exploding in bursts from the stomach, clean cut tunics came double sided, paisley at front, glittering lurex at the reverse. Adroitly addressing gender, implicitly feminine knits – gridded in matte navy and white sequins – were dressed down with work slacks and weighty DMs, whilst aristocratic Lodens coats came sliced and spliced – tweed at front, silken paisley at arm and full, natural Mongolian fur luxuriating from the back and hood.
A colour palette of navy, black and drab olive, lifted with punches of tangerine and golden yellow, reinforced the collection’s masculine leanings whilst skirt-fronted trousers and cut-away sweaters, full length kilts and a leather biker in crystalline ice blue – although on the surface effeminate – entered an androgynous, asexual arena when pared down with such considered clarity.
Mix and match though never muddied, through his careful collusion and recontextualisation of the irreconcilable, Jonathan Anderson exploded the notion of constructed naturalism in favour of what “feels right”. This did.
Images by Sam Wilson.
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