If you thought Jonathan Anderson might slow down after his seismic debut at Dior, think again. Hot off the heels of his art-drenched, museum-worthy menswear collection at Dior, Anderson returns to JW Anderson with that same collector’s eye — but this time, with something even more radical in mind. Resort Spring 2026 reimagines the brand as a full-scale, full-fledged cabinet of curiosities, where wardrobe, homeware, and daily rituals collide into one deeply personal universe.
There was no show this time. Instead, an immersive setup at Galerie Joseph in Paris offered a slower, more tactile reveal: a world where everything has a story, and nothing exists purely for decoration. “Things I like and would like to have around me,” Anderson said, and that simple sentiment shaped the entire project — from the reworked serif logo (now slimmer and quieter) to the garments themselves: a ‘best of’ wardrobe distilled from years of obsession.
Twisted classics were crafted in Japanese selvedge denim, silk damasks woven in England, chunky Scottish knits, and crumpled Irish linen. Each piece was meticulously made with provenance in mind, prioritising not just luxury but also the locality of its materials.
Among the standout pieces are the now-iconic “Anonymous” sweaters. Bold knitwear emblazoned with provocative text, these sweaters challenge and play with identity and community. Featuring stark lettering and striking colour contrasts, they have quickly become emblematic of Anderson’s fearless approach to messaging and design, blending queer ephemera with contemporary knitwear craftsmanship.
The lookbook, shot with close collaborators and friends like Ben Whishaw, Joe Alwyn, Bella Freud and Luca Guadagnino, read like an affectionate album: familiar faces in clothes that feel personal, not performative.
Step into the newly reimagined JW Anderson store, designed by Sanchez Benton architects, and the concept becomes even clearer. A warm, enveloping space filled with Anderson’s favourite things: Charles Rennie Mackintosh oak stools, Jason Mosseri’s Hope Spring Chairs, ceramics by Akiko Hirai, antique gardening tools, Lucie Rie mugs, Murano glassware, Houghton Hall Estate honey, and coffee-flavoured tea from Postcard Teas. It’s as if someone let Anderson loose in the world’s best flea markets and told him to make it make sense — and somehow, he did.
There’s no sterile minimalism here, only a grammar of colour, tactility and affection. The result is a label that no longer plays the seasonal game, but builds, piece by piece, into something durable.
Discover the collection here.
photography. Heikki Kaski
words. Gennaro Costanzo



































































































































































































































































































































