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Photo-example: cut out; Photos: Courtesy of Lowe’s
A year ago, Jonathan Anderson and the team at Lowe’s decided to go in a new direction, risking the success of the brand, which has increased revenue fivefold since Anderson was appointed creative director in 2013. Lowe was known for his eccentric details and moved forward with two series of collections broadly tied to Surrealism. It was a clean and wonderful break from their past. Most amazingly, they captured the woman’s body and shape like never before. They exposed you.
On Friday, in a pristine white box inside the Republican horsemen’s sprawling historic riding arena, Anderson answered the question: Can he keep up those two great performances? He can and then some. At this time, the central concept was distortion – distortion of the body, distortion of reality. It is not a new concept in fashion. In the sixteenth, seventeenth, and eighteenth centuries, elites did strange things with tools like the ruff, fartainle, and pannier. The first model for the spring 2023 show was actress Taylor Russell in a strapless black velvet dress, the skirt skimming away from her waist for a hidden (and minimal) look. The strategy was to drastically reduce the costuming of the earlier French court.
Photo: Courtesy of Lowe’s
Yet, in the digital age, twisting means something entirely different. We’re so used to using images and blurring them to funhouse-mirror proportions that we rarely think about it. But how do you find that size in things like clothes or shoes? And I don’t mean take a painting of a Goya painting, program it into a computer, and then print it on fabric. I mean, it rather successfully reproduces the distortions on the screen, leaving the viewer in no doubt that this is the intention.
This collection did that in several ways. The most obvious was a pale blue jacquard knit hoodie with a broken check pattern that resembled computer game squares. His khaki pants did the same. When the model crosses the white floor of the set, the dress looks blurry, but in 2010 Fig The condition of the dress looks even more dull. Don’t ask me how that happens. But the hoodie was plainly wearable, just like the other jacquard sweaters. It was practical and photographic in a blurred way.
More subtly, there were polo mini dresses in the same knit (thick viscose with a bit of cotton). You may not notice it at first, but the shoulders and collars are very small, like the details of the stretched figure, the shoes of the models have their own confusing width. Some look like the moldy, blemish-free plastic pumps Barbies used to wear, except now bigger.
Photo: Courtesy of Lowe’s
Anderson layered some pants with a cardigan or a fur-trimmed aviator jacket over a hard, padded plunging body, adding just the chin. The item makes you think of a baby carrier strapped to a parent or the armor-like shapes that come from large covers. These looks weren’t very successful, and that’s okay. They are an exploration of symmetry and mystery – among the main elements of fashion – and they follow in the tradition of Rei Kawakubo’s 1997 “lumps and lumps” collection, in which she created shapes and forms based on human objects. such as mobile phones and bags.
Although there are some technical effects – pannier skirts, noises in large anthurium flowers – the set was very difficult, and this increases its power. Anderson presented one pair of black tangerine and the other in lime, cut from glove leather and lightly suspended anthurium miniskirts attached to one breast. The palette itself was new and different for Lowe, perhaps because he was critical of John Chamberlain’s artwork.
For writers and artists, it is a work and a process that expresses their thoughts, better sentences. That’s probably what I admire most about Anderson’s recent work. It reveals the radical, evolutionary development of a creative director who questions not only clothing but its relationship to other objects and ideas in the world.
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