Jonathan Anderson places an ever-expanding number of accessories in the context of a holistically believable, put-together look.
All the development was in the fabric and the textures: linen and burlap, cotton and nylon, patchwork and plissé, raw edges and fringes, jersey and smooth leather.
He described gold calla lily jewelry, jutting from wrists, ankles and ribcage of Julia Nobis, as a “bohemian abstraction.”
A hint of Spanish heritage of the house: peasant blouses with balloon sleeves and gathered necks, shawls tied around shoulders, a blue-and-white tablecloth-embroidery skirt.
He elaborated on the long, languid silhouettes in more organic and unfinished look, but just as alluring. The collection also included almost an entire exhibition of accessories as well.
A whole gallery of shoes walked by—low-heeled boots, which fused sock with cutaway loafer; kitten-heeled summer sandals; Victorian ribbon-laced booties.