Exclusive: Jonathan Anderson talks about the new Loewe spring-summer 2022 collection

Exclusive: Jonathan Anderson talks about the new Loewe spring-summer 2022 collection

While Loewe may remain rooted in tradition and craftsmanship, Jonathan Anderson is putting an undeniably

modern stamp on the brand. Just before his Spring/Summer 2022 show, Vogue gives you an exclusive look

at the collection, including a brand new bucket bag, and lifts the veil on the designer’s working methods.

Nike Air Max Lebron XI Low Boys Grade School Jamie Stoker

There are still three days to go before the Loewe show, and on this beautiful day, Jonathan Anderson, the

35-year-old wunderkind who took over as director five years ago, is in full swing. Elegant and masculine in

his black T-shirt over jeans, he emanates a slight scent of cigarettes as he sits in an armchair facing the

large carpeted room where next season’s collection is being assembled. The Parisian sun shines through the

windows. A deferential assistant brings him an espresso in a black glazed porcelain cup – no doubt chosen

by the designer himself, who has developed an obsession with ceramics. In five years, Jonathan Anderson has

dramatically changed the oldest fashion house in the LVMH group. He spent his first year redesigning every

element of the brand-from the logo to the layout of press releases-before he began working on his first ready-to-wear

collection. “I didn’t want us to rebuild Loewe in a hurry. The house still had issues to work out,” he recalls

in a voice that still has a hint of an Irish accent. But at the same time, I wanted to create something that

felt like it had always been there. The result is a brand that is rooted in craftsmanship and tradition, without

looking to the past. Its different bags, braided or leather, are chic, functional and different from the rest.

The brand has its own vocabulary. With their roots in tradition and their modern forms, Loewe creations are

unlike any other. Most of the fabrics Anderson chooses for his Loewe collections are pleasant and rather thick

to the touch. However, the latest collection is more about lightness and what he calls kinetic movement, inspired

by the work of Italian artist Lara Favaretto, among others, who designed the brushes found in this year’s

collection. With shibori, summer pants look as light as paper. A white crepe dress adorned at the front with

opaline beads is offset by layers of silk and lace, while puffy cotton skirts are gathered inward like paper

bags. Sweaters with puffy sleeves are woven in loose knits, producing an airy effect. The movement of Lara

Favaretto’s brushes can be seen in the sweeps of color and the margins of the fabric. There is an element

of dryness – of kinetic friction – in the aridity of the pleated fabrics and suede patches on the jackets.

The warm palette of beige, sandy yellow and orange is counterbalanced by icy blue and forest green. Loewe

remains primarily a leather accessories house and this season Jonathan Anderson is introducing a new bucket

bag in pristine white leather with tobacco colored leather laces. At the time of our interview, the bag still

didn’t have a name. The Gate and Puzzle bags also received a slight update – in a gorgeous braided leather

version for the latter, which Anderson says will only get more beautiful with age. This is the moment we chose

to ask the designer about his working methods and his first five years at the helm of Loewe – as well as what’s

in store for the next five years.

DOMHOFFEFSUZANNE

Jamie Stoker

Remodeling Loewe “What happens to a lot of historical brands is that they are made up of so many layers of paint

that they become literally baroque. Everything ends up being reduced to a tourist vision of the brand. For me, it

was all about taking off layers of paint for four years. Once you take all that off, you can focus on the material

again: the nappa leather, the hand. The Loewe brand didn’t really have the vocabulary of clothing, it was a bag brand.

Now, fashion is an essential component, we build a language for fashion with a historical culture of leather accessories.”

This season’s woman “In this collection, I am interested in the thin line between happiness and sadness. So there

is a melancholic feeling. I was listening to Verdi’s music and I was struck by the way you feel both joyful and melancholic.

We’re used to dressing up strong personalities, but what about vulnerability? What does it mean? I think it’s a necessary

notion in fashion. We need a vulnerable look. Is it about how you hide your look behind dark glasses? There’s that.

Or is it about the satin and how it’s seductive, how it calls for touch?”

Developing a collection “At Loewe, we work about six months in advance, because we take the campaign photos before

the show with Steven Meisel so that everything can be ready at the same time. We start with about a month of research.

In this stage, there is everything: things I discover by chance, work in the archives, or vintage – we fill a whole

room with elements. Since the beginning, I have been working with the stylist Benjamin Bruno. We do about ten fittings.

The textile research comes at the second fitting, we make canvases and start the distribution. The sewing supervisor

comes in and we work on how to translate certain things into weaves or vice versa. And from there it’s a long series

of alterations. We decide on ten outfits that we’re going to photograph with Steven Meisel, men and women, and we

go to New York. When we return, the collection continues to develop, and we retouch endlessly before attacking the

color combinations. We start thinking about the line before the summer and the looks are locked down when we get

back from vacation and we get right back into it. I do J.W [Anderson] and I come back here. And the two have to be

very different.” https://urlscan.io/result/68a3986d-7507-476f-a058-b62fe10a5417/ Jamie Stoker

On the importance of working in 3D “I don’t do as much sketching as I used to. I need to work in three dimensions

now. I can go faster and go further. Sometimes I think the curse of fashion today is that the clothes look like