In May of this year J W Anderson put out a call for emerging new photography talent to enter a competition to shoot the brands Spring 19 campaign. Being a part of the NewGen talent given a leg up in London fashion week in 2011, Anderson must of felt it was time to give something back to the next generation of talent coming up through the ranks. The J W Anderson ‘Your Picture / Our Future’ search eventually yielded the talents of photographers Julie Greve from the UK, Yelena Beletskaya from Russia and Simons Finnerty from the U.S.
The three photographers were commissioned to shoot the campaign which has just been released and asked to stay true to their individual aesthetic in order to reinvent the brands image. “This campaign is all about a ‘creative refreshing’,” explained Creative Director Jonathan Anderson in a press release. “We chose to work with three young, talented photographers, all of whom have their own untainted, creative visions. Fundamentally, they were able to grasp the unfiltered essence of the JW Anderson brand.”
Each photographer was given a selection of ready-to-wear garments and accessories from the brands Autumn collection and were asked to add their unique, distinctive style to the images. The photographers worked closely along side stylist for the brand Benjamin Bruno as well as Anderson himself. “It’s been kind of amazing. We had nearly 2,000 entries from all across the world: Japan, China, Argentina, Russia, Canada, the USA, everywhere” said Anderson. The final images are strikingly individual, but remain thoroughly in line with “the unfiltered essence of the JW Anderson brand”.
Vogue Hommes International (2012) – “Was Saint Laurent an Artist?”
Pierre Bergé – “My usual answer to that is that fashion isn’t an art form and is special in that it is ephemeral. It has the decency to die young. That said, you need an artist to create fashions, certainly. And they are few and far between. Balenciaga was an artist to equal Braque. Christian Dior and Gabrielle Chanel were artists. Yves had the greatest colour sense of them all, including the artsits – the equal of Matisse. But his greatest talent was his understanding of zeitgeist. While Balenciaga, Dior, Madame Grès and Schiaparelli were great couturiers, they were locked into a couture of social caste, never straying outside of their aesthetic pantheon. The only two who went outside of that framework to enter more social territory were Chanel first, and then Yves Saint Laurent. What interests me is that Chanel fashions, Saint Laurent fashions. The fashion that speaks to its times and transforms them. Not ivory tower fashions, the fascist fashions imposed from above. When I was young, they used to say that there were two couturiers who were working for the year 2000, Courrèges and Cardin. The year 2000 has come and gone, and if you ever see anyone anywhere in the world dressed in Courrèges or Cardin, text me! I’d love to see that. Another piece of fashion claptrap. Fashion isn’t a laboratory, it’s not supposed to caricature the future. It’s the opposite – an excessively fragile, ephemeral link between the past and the future, nothing more. And then there’s something else: the Saint Laurent mantra whereby clothes are made to be worn. Not to be hung on the walls of a museum or to satisfy a secret fantasy. Unfortunately, that’s something a lot of designers forget.”