Everything and nothing co-exist. That nothing is as it is, and the only constant variable for Loewe's shows over the past 10 years is that spectators of the Maison's craft should always second guess what they're seeing. Like seeing through multiple eyes, the noise fades away, leaving only rhythm and melody – stripped down, refined, pure. This is how Loewe creative director Jonathan Anderson, in his decade-long reign, has transformed Loewe into more than a brand. It's become a mindset, a language of its own – to the point where we look at a tomato and say it's "so Loewe, I can't explain it".
Starting his eponymous brand JW Anderson in 2008 at 24 years old, it was instantly grounded and sustained in innovation. It was where high fashion met art school-rebellion with bold, playful designs that blurred boundaries. One season it’s an oversized knit you could live in, the next it’s a deconstructed trench that looks like it walked straight out of a Dali painting. It was as if Spanish surrealism flourished under his direction, with no trends to follow, only a plunge into a dreamlike world where craft was king and the beauty of the subconscious took centre stage. Anderson wasn't just designing clothes. He was creating a new way of looking at fashion – one that caught the eye of Delphine Arnault at LVMH, leading to his appointment as Loewe’s creative director.
Today, we honour Jonathan Anderson’s tenure at Loewe, a year that kicked off with him winning Designer of the Year at The Fashion Awards. To designing costumes for films by Luca Guadagnino; Queer and Challengers, to Loewe's co-sponsor at the Met Gala, and culminating in four groundbreaking collections. Where the Loewe brand ambassadors have become the latest cultural icons, and the House's social media accounts are followed with the same devotion we give to entertainment and luxury. Editors confess their admiration, fan-girling over being among the lucky few to witness the magic of a Loewe show, like the one held recently at the Château de Vincennes in Paris.
But how did we get here – this pivotal moment where a fashion house has become celebrated as an 'addiction'?
His arrival felt like the start of something exciting, where old-world leather craftsmanship and surreal creativity were about to meet in the most delightful way. For Loewe's Spring/ Summer 2015 collection, there was little time wasted. He introduced sleek, modern silhouettes that paid homage to Loewe’s heritage but with a playful twist, pushing the brand straight into the now. Less heavy leathers, more sensuality through suede, particularly a blonde tone known by the house as Oro coloured. It was organised chaos: slashed openings, draped fabrics, contradictions in harmony – structure and softness, sheer and leather, primary colours and muted tones. This was Jonathan Anderson holding a mirror to the world, inviting us to see fashion differently. And it was just the beginning.
But it wasn’t just about creating the fashion – Anderson was turning Loewe into a cultural moment from here onwards. Collaborating instantly with artists like Steven Meisel for its campaigns and partnering with Art Basel; he made Loewe a place where art and fashion could dance together in the most daring ways. He re-established Loewe as a House where "influences and ideas co-exist as part of one creative universe, connecting past and present to create a template for the future".
From there, the collections just kept outshining. In Fall/Winter 2016, the collection blurred the line between art and fashion with avant-garde techniques, luxurious shearling, and embellished leather. By Spring/ Summer 2017, Loewe was deep into surrealism, playing with shapes and layers, manipulating the pleating and our minds that the feminine silhouette can be complemented in structured proportions . In Spring/ Summer 2020, Anderson’s playful side shone as he turned more towards femininity, with voluminous dresses and tailoring that was as artistic as it was chic. Look number 8, featured a butter-yellow dress adorned with intricate hexagon lacework. The design embraced a structured, squared silhouette, deviating from the natural curves of the female form. At the heart of the collection was a profound appreciation for artisanal techniques, with delicate lace, macramé, and crochet adding an ethereal quality to many of the pieces. This collection demonstrated how fashion can merge artistry with wearability, transforming garments into something both timeless and innovative.
The Spring/Summer 2022 collection sparked widespread excitement, as it marked a pivotal moment for Loewe. After the pandemic, Jonathan Anderson sought to usher in yet another transformation for the brand, embracing further experimentation and pushing the boundaries of creativity–another renaissance within Loewe. Where art remained deeply intertwined with Andersons collections, Jacopo Carucci, the renowned Italian painter, served as an inspiration. Known for breaking away from the conventions of the High Renaissance, Carucci pursued his own dramatic and expressive style, reflecting the same spirit of rebellion and personal vision that shapes these designs.
Last week, at the Château de Vincennes, Anderson's 2025 Spring/Summer collection for Loewe unfolded with a quiet yet commanding presence, reinforcing his masterful reign over the house. The show opened with a stripped-back runway, devoid of excess, where the eye was drawn to a single striking sculpture: a small bronze bird, perched atop a towering post. This artwork, The only place you came to me was in my sleep by Tracey Emin, acted as both a metaphor and a muse — a call to dream, to take flight, to embrace the ungraspable.
The collection itself echoed this sentiment. Silhouettes twisted and turned, each one bending, bouncing, and curving with an otherworldly fluidity. Some shapes extended into long, flowing forms, while others were abruptly cropped, their edges raw and unpolished. Everything seemed to move sideways, drifting away from the body as if slipping in and out of a waking dream. Tailoring took on a new life, softening into rounded shapes that melted into the skin, while draping spun in hypnotic circles. There was a sense of contrast and duality throughout — the boldness of looping skirts and voluminous dresses intertwined seamlessly with the stark simplicity of a classic T-shirt tucked into slim, tailored trousers.
In every collection throughout the past decade there has been a constant theme of commanding space in a way that transcends the conventional. Whether it’s an artful twist on a classic silhouette or a playful nod to surrealism, Anderson has turned every show into an opportunity for transformation – of the clothes, of the brand, and ultimately, of how we view fashion itself. Each collection doesn’t just exist to be worn; it exists to be felt, to be contemplated, to be experienced as a piece of cultural commentary. Loewe under Anderson has become more than a luxury house; it’s a living, breathing dialogue between art, fashion, and the world around us.
So, as we look at the past 10 years of Loewe, we see more than a brand that has redefined leather craftsmanship or high fashion – though it’s done that too. We see a journey that’s blurred the lines between reality and imagination, practicality and fantasy, asking us to look closer, to think deeper, and to question everything we thought we knew about style. And in doing so, Anderson has not only capitalised on the game but rewritten the rules entirely. Now, when we see something bold, daring, or just a little off-kilter, we smile and say, “That’s so Loewe".
