In his latest Spring/Summer 25 Menswear and Resort 25 Womenswear collection, JW Anderson indulged in a joyful mismatch of excess, both colour and form. The presentation appeared to defy a singular narrative thread, however, perhaps this was Anderson’s intention. As a show invite, the designer sent out t-shirts printed with the motif “Real Sleep” a hint to the theme of dreams, where stories matesrialise so vividly, only to dissolve equally as quickly upon waking.
With this audacious approach, Anderson invited us to confront the transient and fleeting beauty of fashion. Soft pillowy constructions dominated the collection’s first half, with three silky, duvet-eseque quilted jackets in soft pastel tones setting the sleepy tone from the outset. From there on out, the looks were a mismatch of vibrant bulbous forms, “ruffled” shirts where the ruffles were instead inflated like balloons or voluminous “skirts” constructed from strips of clashing fabric, the embodiment of a fever dream aesthetic. Amidst the whimsical extravagance, Anderson offered more sober, wearable pieces–biker shorts and bombers, jeans and knit jumpers.
Speaking of kints, here the designer, as with many of his counterparts this season, infused a sense of youthful delight. Tunic dresses and cardigans, their patterns revealing charming townhouses, evoked nostalgic memories of something lovingly knitted by one’s grandmother. This playful yet sentimental touch added a layer of warmth and whimsy to the collection, celebrating the joy and comfort of handcrafted fashion.
No review of this collection would be complete without a nod to the Guinness lovers (myself included, despite being teetotal). Anderson, who himself is Northern Irish, and therefore presumably also a member of the Guinness fan club, presented two variations: the traditional logo on a knit sweater and a bejewelled modification with an accompanying pint with a moon head. Again, these additions appeared to hold no connection to other aspects of the collection, yet their charm added to the collection’s playful tapestry.
Without wanting to overanalyse, the “Real Sleep” slogan evoked a sense of deliberate distinction. It seemed as if Anderson intended to poignantly separate himself from the sea of designers whose collections have begun to blend into one homogeneous mass. In an industry of sheep, Jonathan Anderson emerges as the real individual, standing apart with his unique and almost undefinable vision.
