Northern Irish avant-garde designer JW Anderson experimented with structure and form in his namesake’s SS25 collection. Texturally playing with slinky printed mini dresses and tops, suspended skirts and bouncy knit dresses, Anderson used a select range of silk satin, cashmere and leather to create the 41-look collection. Through this limited range of material, Anderson explored the myriad ways to play with structure, form and function, swaying between notions of hard and soft; stiff and draped. The looks varied from “girly” strapless sequin dresses to more boyish bomber sweatshirts, chunky avant-garde knit woven dresses and pant-less sloped shoulder coats.

The show opened with variations of tailored silk satin mini dresses printed with oversized buttons and zips, and embellished with sequins. There were dresses that ranged from deep V-necks adorned with lace and shapeless, superfluously large woven knits that arguably wore the models. Looks were flirty and fun, especially the floaty peekaboo skirts that were paired with shapeless bodices that stood like smocks.

Accessories were minimal throughout the collection, with consistent matching calf leather boots that sloped down the ankle. Anderson’s classic loafer bag made a return in lemon and brought function to more experimental looks such as a moss green oversized jacket dress made of silk satin, and detailed with a tan leather collar and saddle-like feature slung over a shoulder. The look was repeated in all black.

The knits throughout were a staple. A navy cashmere dress had slits all across the chest and waist, with an abnormally large tie at the bottom, repeated in a mustard yellow. Slight peaks of flesh between large strips of cashmere created an interesting dichotomy of cheeky and modest, with woven floral, textual and cartoonish, tower-like patterns. Anderson reminded us that femininity doesn’t necessarily involve form-fitting, sexy pieces. In a post-runway interview, Anderson explained how his sister inspired the show, who, while growing up in Ireland, always proved that women could be equally tough and ‘girly’. The knits illuminated the endless possibilities that can be found within prescribed limitations.

Anderson was creative by printing patterns over silk. A recurring print we saw was part of an art and design essay by British art critic Clive Bell, which was seen on dresses and tops throughout. Anderson’s collection was about seeking and ceasing new opportunities within restriction, in his case, with a small library of materials. From these limitations, Anderson created a sleek and wearable range of modern and lively looks. These were pieces made for women who don’t conform to traditional rules of fashion; women who enjoy exploring their personal style; who are tough, chic and girly.