Collaborating with Christiane Kubrick – the film director’s wife – Anderson has playfully weaved motifs, themes and imagery from the film into the latest collection. For example, the curtains, the reds and the paintings hanging on the walls were all created by Christiane to help immortalise the work of the infamous director.
To further push the contextual environment, the same paintings are seen on a variety of knitted dresses, while a portrait of a family cat appears on a jumper and tote bag. Moreover, bright red Poinsettia plants feature heavily in Eyes Wide Shut, and likewise the new collection.
Despite the designer finding the plants “incredibly disgusting”, he was drawn to their toxic nature and allure.
JW Anderson collections are known for being playful and particularly subversive. It goes without saying that this collection is no exception. Furnishing fabrics are transformed into clothing, placing a strong emphasis on volume and flair.
Similarly, cardigans and bloomers feature satin linings peeping out to subtly allude to cushions and curtains. Building a relationship between body and domestic life, the collection purposefully intrigues and entertains.
In comparison to previous seasons, the latest offering is particularly sensual. Trousers and traditional structural silhouettes have been replaced with plunging v-necks and relaxed jumpers.
Similarly, tights are worn over boxers as a way to create an intimate second-skin effect. Meanwhile, other looks appear exaggerated with oversized blazers meeting impressively long shirt sleeves.
To further mark the latest collection. Kubrick and Anderson have also made a short film – titled Who is the Painter? – which was directed by Christiane’s grandson, Jack Elliot Hobbs.
“Weird and perversely domestic, plush and padded, everything is off”, stated the show notes. And we’re inclined to agree. It’s clear that by toying with dimension, form and texture, the AW24 collection embodies Anderson’s distinct and forever-witty design approach.