{"id":425558,"date":"2024-01-16T12:46:22","date_gmt":"2024-01-16T11:46:22","guid":{"rendered":"https:\/\/highxtar.com\/jw-anderson-mens-autumn-winter-2024-womens-pre-fall-2024-un-viaje-por-el-universo-de-kubrick\/"},"modified":"2024-01-16T12:52:02","modified_gmt":"2024-01-16T11:52:02","slug":"jw-anderson-mens-autumn-winter-2024-womens-pre-fall-2024-a-journey-through-the-kubrick-universe","status":"publish","type":"post","link":"https:\/\/highxtar.com\/en\/jw-anderson-mens-autumn-winter-2024-womens-pre-fall-2024-a-journey-through-the-kubrick-universe\/","title":{"rendered":"JW Anderson Men\u2019s Autumn Winter 2024 Women\u2019s Pre-Fall 2024:\u00a0a journey through the Kubrick universe"},"content":{"rendered":"\n

On the penultimate night of Milan Fashion Week, fashion merged with cinematography. Jonathan Anderson demonstrated his genius for yet another season by turning the universe of Stanley Kubrick’s<\/a> iconic film “Eyes Wide Shut” into a collection brimming with the film’s sexual tension. JW Anderson’s men’s FW24 and women’s Pre-Fall 24 collection unleashed a visual experience that masterfully fused the cosy with the perverse.<\/strong><\/p>\n\n\n\n

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The film’s interiors were used as a starting point, elevating elements that had remained in the background to centre stage. Curtains, vibrant reds and paintings created by the director’s wife Christiane Kubrick became the essence of the collection’s imagery. The figurative depictions that were once integral to the psychology of the scenes now took centre stage in knitwear, transforming Christiane’s work into vibrant and evocative prints. Velvet, satin, quilts and curtains were translated into garments. Christiane Kubrick’s paintings were printed on long dresses, creating an intrinsic connection between the visual narrative of the film and Anderson’s narrative.<\/p>\n\n\n\n

The collection featured a unique fusion of gender elements, with veiled tights and socks in men’s looks, high heels and gloves for women, and structured coats in both that perfectly encapsulated Kubrick’s cinematic aesthetic. Even Polly, the director’s cat, appeared on bags and garments in the collection; poinsettias materialised in brooches; from puffed cardigans to trousers with satin linings reminiscent of cushions or curtains, each garment exuded that tension between Comfort and the perverse.<\/p>\n\n\n\n

The juxtaposed textures, the large-scale puffy jackets, the shirts with huge sleeves, the oversized trousers and bombers, the prominence of red\u2026 all contributed to a sense of suffocation, bringing us into a situation where the claustrophobia and emotional tension present in “Eyes Wide Shut” seemed real.<\/p>\n\n\n\n

The collection’s narrative culminates with “Who is the painter?”, <\/strong>a short film that expands on the creative exploration of the collaboration between JW Anderson and the Kubrick universe, which premiered the same evening in Milan. Directed by Christiane’s grandson Jack Elliot Hobbs, the film weaves the fabric of painting with the texture of design, inviting audiences to experience the dance between fashion and fine art.<\/p>\n\n\n\n

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