Catwalk

J.W.Anderson

The lights blasted on; The Knife blasted through the sound system. Even at 9pm at night after a long day of shows, we were instantly switched on. And that was how J.W. Anderson intended it to be at his Spring Summer 13 show, entitled ‘The Treatment Room’.

Anderson had created a lab and gender bending was his scientific research. The girls wore men’s shoes and flappy trousers with folds of fabric disguising any shape that might be underneath. Pinstripe suiting looked like it had been pieced together straight off a tailor’s cutting block and pockets were outsized, almost like mannish peplums.

But this season, London’s current knight of androgyny introduced a new girlishness to his vocabulary, with flounces of fabric around the bust, frilling around the bottom of skirts and draped asymmetrically on the hems of a-line tops. It was a definite departure from his ultra-boy collections of previous seasons.

There was even some pattern – Impressionistic dots smudged onto wraparound dresses and simply cut suits. It was a great mix of metaphors: biker jackets of pretty dresses, men’s suits with giant bows, wide-shouldered blazers with flashes of peach chiffon trailing out from underneath.

It certainly seemed to please the front row: London’s cool kids Daisy Low, Pixie Geldof and all the way from the USA, Azealia Banks. Girls who like boys who like girls all the way.

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