Jonathan Anderson trims his logo and lines store shelves with Mackintosh lamps, Murano glass, and Japanese denim to give JW Anderson a refreshed identity rooted in craft.
Jonathan Anderson barely let the applause fade after his Paris debut at Dior before turning to the label that bears his initials. He has pruned and replanted JW Anderson, building it around objects he likes to live with—whether that means silk-damask fabric or a Scottish stool. The reset begins with a pared-back logo, its slimmer anchor serif signaling a cleaner chapter, and a retail plan stretching from London to New York.
Anderson calls the new vision “centred on objects of elevated craftsmanship: curated fashion collections alongside homewares, artisanal goods and the very idea of collecting. A modern-day cabinet of curiosities.” He underlines that credo by mixing pieces made in specialist hubs, Japanese denim, Scottish knits, Irish linen, English silk damask, into what he describes as twisted classics. The debut assortment works like a “best of” album that also hints at future changes, photographed on the designer’s friends and long-time collaborators to stress personal context.
The first physical expression arrives on Pimlico Road later this year. Architects Sanchez Benton shaped the store as an inviting space defined by warm materials, more domestic nook than luxury flagship. Anderson will also renovate his existing Soho shop, followed by openings in Paris and Japan. Each location shares one principle: fashion shown beside objects that sparked it. The range spans re-editions of Charles Rennie Mackintosh lamps and stools, Jason Mosseri’s Hope Spring chairs, Akiko Hirai ceramics, handmade Murano glassware, Welsh blankets, and Houghton Hall Estate honey. Browsing is meant to feel like stepping from a runway fitting into a well-loved studio apartment.
Going forward, JW Anderson will present two collections a year, released in four drops. That rhythm, Anderson argues, gives craft stories time to breathe. “Things I like and I would like to have around me,” he says simply.
The change arrives as many houses chase fleeting hype. Anderson’s answer is slower, object-led and intimate, more flea-market treasure hunt than algorithmic scroll. By turning JW Anderson into a platform for his collecting habit, he refreshes the brand while keeping its subversive humor intact. The next drop may widen the offering, but the guiding rule seems fixed: if it can live comfortably on Anderson’s shelf, it earns its place on the rack.
