Scene setting: Earlier this month at London Fashion Week, Jonathan Anderson explained that his A/W 2019 eponymous collection had been about focus. For his autumn offering for Loewe, the designer also placed his centre of attention on clothing, stripping back the art installation-filled, gallery style runway set ups at his usual Maison de l’UNESCO show space. At the venue, a series of rooms were lined with black reflective parquet flooring. On closer inspection, one white wall of the space was lined with miniature oval-shaped portraits. These dated from the 16th or 17th century and featured paintings of English, Flemish, French, Italian and Spanish provenance, including a 1650’s portrait believe to be King Charles I, attributed to David des Granges and a portrait of Mary Queen of Scots, inscribed Maria Regina Scotorum, attributed to Bernard Lens III.
Mood board: The portrait miniatures populated around his venue, and printed on the show’s accompanying poster, invited guests to take a microscopic view of the clothes on display. Provoking laser-like scrutiny of the collection which was rich in detail, but free from overarching narrative. Anderson’s obsession with craft means that his silhouettes have unusual details, and are utterly tactile and luxurious. Bias-cut hammered silk dresses were paired with ostrich feather stoles, a wide collared double breasted coat had asymmetric buttons, a cape was imagined in a soft white knit, a jacket was woven from panels of leather. Anderson titled Loewe’s collection ‘My Best Self.’ He couldn’t be more correct.
Finishing touches: Loewe’s signature feathered flounces were still on view here. A skirt shimmered with fronds of silver streamers. A knitted jumper hung with pompoms. Yet obvious embellishments were a little more pared-back for the audience, Anderson asking his fans to closely scrutinise the meticulous details of his garments. §
