The latest in Peter Jensen s gallery of unlikely muses is Meryl Streep in her blondest, all-American-est late-1970 s incarnation: Manhattan, Kramer vs. Kramer, The Deer Hunter…Particular it may be, but the choice of inspiration also has significant implications for Jensen s business. Think back to the season he was focused on Shelley Duvall, the perfect icon for Jensen s World of Weird. Now look at these clothes, positively Meryl-worthy normal by comparison in terms of accessibility, simplicity, and versatility. "We re growing up," Jensen said, with his trademark gleeful grin. It s true, and he s now enough of an institution that Danish TV hired him as a commentator for the Wills n Kate nuptials.
There was still the odd outbreak of skewed girlishness in Jensen s Resort collection—the short shorts, the little A-line mini, the curious two-dimensional, almost folkloric quality—and his unique color palette prevailed. (As he says, there couldn t be many other designers who do as well with shades like mustard and a blue he calls "Korean Air" after the uniforms of that airline s hostesses.) But otherwise, this was Jensen s most polished, refined collection to date. What stood out was structure: a trim cotton canvas pantsuit in a fantastic architectural print based on photos of houses in Palm Springs, a close-fitting safari jacket with zipped pockets, equally neat trenchcoats, a below-the-knee cocktail dress in basketweave linen over a black tulle petticoat. Add in the capri pants, the ruffled blouses, and the waxed cotton cape that is practically a signature piece, and you had a collection that put Jensen at the forefront of a trend we could label the New Prim, Resort s emerging appetite—in London, at least—for decorum. Mind you, Jensen s always had that in him, but this season, he elevated it to a height of sophistication that photographer Tim Gutt admirably captured in the accompanying lookbook. Gaze upon Iekeliene Stange s blonde beauty and muse, "Meryl, you were never lovelier."
