Five min­utes with JW An­der­son

Emirates Woman - - #jwanderson -

1. What was the in­spi­ra­tion be­hind the col­lec­tion? Most def­i­nitely the Bri­tish Aes­theti­cism move­ment. And also Os­car Wilde, and his view on beauty as a form of ge­nius was some­thing that I re­ally feel res­onates within this cap­sule.

2. Who is the JW An­der­son wo­man?I like to think that JW An­der­son can talk to all women, no mat­ter their age or her­itage, or pro­fes­sion. I wanted this col­lec­tion to feel mod­ern and fem­i­nine but not at all re­stric­tive, hence the fo­cus on fluid sil­hou­ettes and fab­rics .3. How has your la­bel evolved since your de­but col­lec­tion in 2008? I first started as a ready-to-wear de­signer and now our brand is so much more well-rounded with a strong fo­cus on ac­ces­sories.

4. In the past 10 years what have you learnt about a. the in­dus­try andb.y our­self asa de­signer? Fash­ion is an in­dus­try in con­stant flux, it’s also fac­ing more scru­tiny than ever be­fore. In the last years the in­dus­try has turned up­side down. The way in which we con­sume me­dia has changed. We will look back on this time and see it as a junc­ture with the turn­ing point be­ing the de­liv­ery of in­for­ma­tion di­rectly to the con­sumer from the brand or the prod­uct .

5. How do you com­bine your pas­sion for art into your de­signs? We should sur­round our­selves with things that make us happy. I think what Jim Ede did at Kettle’s Yard, his former home in Cam­bridge, is one of the most amaz­ing con­tem­po­rary ex­am­ples of how we can live with ob­jects. It changed my aes­thetic and my view­point – es­pe­cially the way Ede had dis­played his art and pos­ses­sions, balanc­ing the pre­cious­ness of a stone to the pre­cious­ness of a Bran­cusi to a piece of tex­tile fab­ric.

6. So­cial me­dia: what do you love/hate about it?We are so de­pen­dent on dig­i­tal me­dia that we need to coun­ter­act that with some­thing more hu­man. We live in an In­sta­gram so­ci­ety, it’s easy to like some­thing, but to re­ally en­gage you have to go and see it and spend time with some­thing and un­der­stand it. You have to emo­tion­ally en­gage with it, not just flick through it on your phone. I’m find­ing it more and more im­por­tant to learn the craft and to take my time.

7.Howhas the fash­ion in­dus­try evolved since you started out? The world is go­ing faster and so is our in­dus­try! When you start off as a de­signer you want to be the best creative direc­tor, you want to make the best shows. But then you want the best shows and the best press from it, so then you want more ed­i­to­rial but you don’t care about the sales. Then you start to add the show and the press and the sales and be­ing able to man­age it all. So, your pres­sure is fun­da­men­tally man­aged by your­self. The key to­day is to be an en­tre­pre­neur­ial cre­ator.

8. The fash­ion in­dus­try is the sec­ond most harm­ful to the en­vi­ron­ment, as a brand what are you do­ing to mini mis et his? LVMH has a mi­nor­ity stake in my com­pany. The group has con­ducted en­vi­ron­men­tal au­dits at most of its houses since 2002, en­abling pre­cise mea­sure­ments of the con­tri­bu­tion of lo­gis­tics to its green­house gas emis­sions. I hate it when peo­ple use sus­tain­abil­ity as a mar­ket­ing tool. I try to work it into ob­jects so that they be­come time­less, or on the idea that they will be re-dis­cov­ered in a sec­ond-hand shop and some­one will buy them again .

9. What ad­vice would you give to young de­signer son the im­por­tance of self-ex­pres­sion in their work? The best ad­vice that I ever re­ceived was from Manuela Pavesi – she told me to never com­pro­mise.

10. Why did you choose Net-a-Porter to launch this ex­clu­sive cap­sule col­lec­tion? This col­lec­tion is ac­tu­ally our sec­ond cap­sule for Net-a-Porter–we first did a small cap­sule with them about three years ago, and now it feels like a good time to go back and build on that re­la­tion­ship.

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