Should fashion speed up further, or slow down a little bit? Jonathan Anderson, who has spoken frequently about limited attention spans in the digital age, advocated the latter with his spring show. He elaborated on the long, languid silhouettes he introduced for fall, here more organic and unfinished, but just as alluring.
A video backdrop depicted blue barrels floating in the sea, and burly men swimming them ashore. All that splashing served to heighten the waterlogged drape of the scarf-point skirts, while trailing sleeves and coiling ruffles sometimes made one think of seaweed.
The work by artist Magali Reus was a metaphor for labor – “the job is never done,” Anderson mused – and for building a brand. Only two years in, Anderson is doing a fine job of that at Loewe, which just installed a product wiz of a CEO, Pascale Lepoivre, who joined from Céline to keep the Spanish brand’s momentum going.
A commitment to craft, with touches of modernism, is Anderson’s forte, and it was on display here in the ballooning calico dresses; the whip-stitched leather pieces with yarns left dangling; and the raw seams slithering down sinuous dresses. He described gold calla lily jewelry, jutting from wrists, ankles and ribcage of Julia Nobis, as a “bohemian abstraction.”
Anderson’s handbags, under his J.W. Anderson label and for Loewe, are among the most popular this season among show-goers, and he included one in every exit. The most striking ones bore carpet patterns, or a tight weave of glossy leather. He included iterations of existing bags, like the Hammock and Flamenco, because why throw the cash cow out with the bathwater?