Despite Jonathan Anderson’s crammed schedule – splitting his time between his own brand, his role at Loewe and an upcoming exhibition at Wakefield’s Hepworth gallery – FW17 saw the designer surprisingly clear of mind. Stripping his aesthetic back, this season the designer sought to explore the nuances of the J.W.Anderson woman.

The designer’s penchant for craft is well documented – look no further than the recent announcement of this year’s Loewe Craft Prize nominations – so it made perfect sense when he explained post-show that this season was all about “stripping it back to an outline silhouette and building it up again.”

Executing his latest vision with acute clarity – never to be confused with simplicity – here, those Caulfield-hued walls that welcomed guests to Anderson’s FW17 menswear show came whitewashed, contrasting with the opening look; a black knee-length dress pinned at the waist with chest pockets, paired with ‘I mean business’ leather boots zipped down the front from knee to toe.

Where last season saw Anderson play with masculine sensibilities by subverting Henry VIII from head-roller to head-turner, here the designer shifted focus the opposite way. “Uberfeminine” was how he described the collection, an odyssey into the many facets of femininity: strength was realised through straight silhouettes, buckled detailing and one immaculate minimalist trench coat buttoned at the side with a chocker collar, whilst luxe ostrich feathers supplied volume to drop-waist dresses added glamour and comfy trainers gave several outfits a sporty finish. Sexuality – Anderson’s calling card – was evident throughout, from those knee-high boots we spoke of earlier to one cropped leather jacket revealing glimpses of bare skin below to a silk number that flowed over the model like a second-skin.

Oh, and what oozes sexuality more than Kate Moss’ hushed tones in Primal Scream’s cover of Lee Hazelwood’s Some Velvet Morning: “Learn from us very much, look at us but do not touch” – a fitting soundtrack, for sure.