J.W. Anderson Spring 2013

The Clothes: In the past two seasons, J. W. Anderson has grown from a tiny show space to one of the big draws of London Fashion Week. This packed-to-t
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The Clothes: In the past two seasons, J. W. Anderson has grown from a tiny show space to one of the big draws of London Fashion Week. This packed-to-t
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The Clothes: In the past two seasons, J. W. Anderson has grown from a tiny show space to one of the big draws of London Fashion Week. This packed-to-the-rafters Spring 2013 show was entitled The Treatment Room. The line sheet promised us a clinical, gender-bending collection based around the contrast of “positive and negative space.” The show opened to our surprise with frilled bandeau tops, splashes of pink, and what we’re hailing as the Return of the Skort. Shoes were Jetson-style white flat patent boots with a single strip of colour up the middle. The peplum was deconstructed into an asymmetric layer over Bermuda shorts, baggy pinstripe trousers, and mannish khakis. Jackets were collarless, or tied at the side like hospital scrubs. The stark nature of the silhouettes were contrasted by prints, the occasional ruffle, and coloured enamel necklaces. In all, it was a fresh departure from Autumn/Winter, and showed the young designer’s range while staying true to his tried and tested aesthetic.

The Hair & Makeup: Makeup was clean, fresh, and minimal with a strong brow. Hair was slicked back in a glossy side parted ponytail, with strands of hair deliberately over each ear.

The Soundtrack: Futuristic techno

The Vibe: Intense and serious, with blindingly bright lights (intended to make the environment feel more the aforementioned clinical Treatment Room).

The Front Row: Daisy Lowe, Pixie Geldof, Tallulah Harlech, Portia Freeman.

Celebrity We’d Most Like to See Wearing this Collection: Tilda Swinton, Kate Bosworth.

WTF Moment: Pixie Geldof sat on Derek Blasberg’s lap throughout the entire show. Glad we weren’t sitting directly behind them.

What the Line Sheets Said: “There was a personal urgency to strip back fashion to garments with an edge. The negative space becomes just as important as the positive. This collection evolves, as rigid architectures become moving objects. Once again, the lines between genders are blurred.”

Photos: IMAXtree