Fear is most commonly associated with a sense of distaste and discomfort.

Much of which, I believe, is owed towards the poor articulation of the abstract, unhealthy bile flow and hardcore normcore.

In other words, an obsessive compulsive disorder to stick to the status quo. And thereby, staying within the boundaries to avoid disappointment and upset.

That shouldn't be anything new.

Sure it is true that, for now, millennials are still able to act impetuously. Kids of the 'now-or-never' generation, quick on the trigger, short attention spans, and often pungent with hateful criticism.

And at times, new generation advancements have acted towards the detriment of our good well-being. The forgetfulness to live in the moment, the abandonment of mystery and the creation of an obscure wall between our 'normal lives' and fabricated fantasy.

Endorphins may be the answer, least it is a key ingredient to positivity and self-esteem. And as a ward to anxiety, depression and stress, I'm on it and am back at the gym, with 3 kilometres per session.

emotional comfort

at its upper limit.

And so has J.W. Anderson, back with quadruple-nominated at the upcoming Fashion Awards (previously named British Fashion Awards) hosted by the British Fashion Council.

Analysing this collection is somewhat of a challenge, considering Anderson's abstract ideas: the 'Window' overcoat robe, the leopard shearling soft beanie, the 'crazy' beanie (which managed to find its own name). Perhaps a better way to understand the collection is in its simplification: one that is blown up in multi-dimensions with oversized shapes in earthly tones.

Speaking of all things fungi and tiger jacquard, it was for sure one of the more animated (as opposed to anime) collections for Loewe menswear. And along with the variation that comes along this collection are dinosaur prints, wide stripes and Paisley patterning. Yet it's the direction in which the fans are desiring for - precisely that of the unexplainable, the abstract and, to some, the statement in the non-commercial pieces.

Recent years, new-generation consumers have been calling for less commercial pieces, owed to their so-called self-proclaimed evolution. Then surely, it is the reinterpretation of the classic they are seeking, the quality of which they are purchasing into, and, as equally important, a consistent dialogue that needs to have an impact. As such, a story is very much present. In fact, it has been ongoing for 170 years: Past, present and future.