September 16, 2011 London
The interweaving of menswear and womenswear is an Anderson signature, like the baggy pleated pants paired with a metallic tabard that asymmetrically wrapped around and defined the model's torso. That tabard also pointed to something equally typical: a collage quality influenced by the artist Robert Rauschenberg. The handcrafted effect Anderson sought looked random, even clumsy, at times, especially with panels of mesh that were asymmetrically attached to a precise top and pleated navy skirt. But when his elevation of the handmade succeeded, it was spectacular. The zigzag knits and the irresistible roadrunner print could be construed as particularly charming takes on the season's tribal tendencies. Even better: the lengths of laboriously woven leather links that he used as a bib or a trailing drape over one of those upside-down cardigan dresses. They had a seductive meshlike fluidity, but they were also romantic, in an odd neo-medieval way. Like the swatch of synthetic swan feathers that covered the back of a silk waistcoat. Just the ticket for a runaway convent girl's dreams.