In his recent A/W 2021 collection, JW Anderson drew inspiration from the world of ceramics, particularly the works of Magdalene Odundo, a ceramic artist, and Shawanda Corbett, a sculptor and performer. Anderson's creative journey explored the intricate relationship between the human body and the materials that adorn it.
The collaborative result unfolded as experimental silhouettes, where voluminous knit dresses took on onion-like shapes, and cape coats elegantly sculpted curves. A significant element of this collaboration involved limited-edition blankets based on selected works from both Odundo and Corbett.Presenting this unique collection online, Anderson also reflected on the profound impact of the global pandemic on his creative process. Confronted with restrictions on travel and physical interactions, the designer underwent a radical shift in his research methods.
Forced to explore familiar territories more deeply and engage with known acquaintances on a more intimate level, Anderson embraced activities like reading, which had previously taken a backseat in his busy schedule.
Yet you wonder if researching also means plagiarizing in our time: at the heart of this collection lie indeed three iconic sculptural coats, where the fabric appears to fold upon itself, layers of fabric peel off like petals, gracefully framing the wearer's body or incorporating a petite cape.
Despite Anderson stated this was a deeply personal project, the folded, rippling trenchcoats seamlessly merging the curves, colors, and organic shapes reminiscent of his collaborators' ceramics, also call to mind something else - Sybilla's iconic 1987 petal coat.
This correspondence urges us to contemplate the dividing line between homage and copy in the ever-evolving fashion industry, but also casts a shadow over this supposedly innovative collection.
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