September 13, 2013 London
Jensen's artist friend Julie Verhoeven contributed Diana collages that, when printed on black, artfully duplicated her visage surrounded by a corona of superstar hair. Jensen turned to Andy Warhol, an artist he didn't know, for a serial print based on the singer's lips, taken from a portrait for the cover of the album Silk Electric. It was a reminder that Jensen is a print master. (With this collection, he launched a capsule of dresses in ten prints drawn from his archives—the female counterpart to the group of men's shirts he launched in June, which have already proved a hit with retailers.)
Jensen's Spring thing begged a couple of questions. Why Diana? Why now? You scarcely needed a familiarity with the oeuvre of the ex-Supreme to appreciate that this was Jensen's most polished, most "grown-up" collection to date, but it was also enlightening to hear the designer's own breezy justification. Setting aside the über-arch Blockbuster reference for a moment, Jensen felt Ross stood for a good time, a chance to dance away the dark. It's the same impulse that has seen the fashion world fall all over again for the work of Antonio Lopez, and it's the same reason Studio 54 will never die (however much you wish at times it would). And, quite frankly, it's a joy to see Peter Jensen get down—and get back up again.