took the audience for yet another intellectual ride with his fall/winter 14
collection. In plebeian terms, if "pretty ugly" were a thing,
Anderson nailed it. Citing English modern painter Graham Sutherland as a
reference point, Anderson appropriated the queasy colour palette of alien
green, murky mustards, watery browns, moss and greys from Sutherland's
paintings onto his collection. Anderson went further by employing
"ugly" fabrics like corduroy, black satin and a two-toned seaweed
woven mix as a personal challenge this time. Admittedly, some of these fabrics
are among his most abhorred.
In an interview
backstage, Anderson wanted the show "to feel a bit disturbed," citing
"the idea of a shrivelled arm" and of "this contorted
figure" in Sutherland's many figure drawings such as in Standing Forms II.
This conceit of contorting the body translated into the bending and melding of
style lines and the transferring of the weight of garments to parts of the body
where they feel a little unnatural. It is an extreme way of challenging codes
of dressing that goes beyond just deconstruction.
The part of
the garment that endured the full extent of this contorting process was the
neckline, where Anderson experimented with many different forms, from roll
necks to structured high collars, asymmetrical, draped, deep cowl, off
shoulder, ruching, oversized to name a few. The waistline of the dresses also
shifted rebelliously with each look; drop waist, Japanese "obi" sash,
and at times completely absent. The absurdity of these styles were enhanced by
rather grotesque shoes and the eerie theremin-rich soundtrack by Michel Gaubert.
entirety, the J.W. Anderson collection displayed gusto that likens it closer to
art. The way he used the runway as a canvas to challenge the way we think about
clothes and ideas about taste - either wittingly or otherwise - is a testament
to the sheer rigour of his creative wit. Anderson shows are bold statements
that are quickly turning into landmark events at London Fashion Week.