or his 2011 Fall and Winter collection, Sir Paul Smith seems to have gone often to New York City's Museum of Modern Art, and while there he spent a great deal of time looking at the works of Jackson Pollock. The famous expressionist painter would certainly have been intrigued by the way Mr. Smith employs color, pattern, and texture in his new collection, dashing them bolding across the runway in his own choreographed echo of Pollock's famous drip technique.
Gray dominates Paul Smith's collection, not merely as a solid color but as a pattern, a blending of black and white in clashes of stitching and print. White streaks across black in jeans, shirts, coats, sweaters, suggesting sometimes leopard prints, other times piles of feathers, still elsewhere the fuzzy static of a malfunctioning television. This fuzz is accentuated by Sir Paul Smith's use of fur throughout his lineup, big bushy coats and thickly lined collars enhancing the luxury, the exclusivity of the clothes throughout. Setting off the stark swirls of light and dark is the small but potent application of khaki in the collection, appearing in pants and double-breasted overcoats; in the latter case, they act almost as frames for the drip painting taking place in the sweaters and jeans within.
There are bursts and flashes of color throughout, however, like the lines of bright color that flit through the black and white of Pollock's famous paintings. The sky blue sweaters, the sunny yellow cardigans, the fiery orange coats all generate warmth in the dim swirl of black and white, acting as body warmers against the growing cold of Winter. The Paul Smith man lives in the breathing, thriing world that Jackson Pollock captured so dramatically. He thrives on chaos and enjoys the challenges that come when things go awry. He is the perfect man for the abstract landscape of our times, and as things grow less certain, he comes more and more into focus.