Jonathan Anderson’s LOEWE FW25: A Still Life of Radical Elegance

If the rumors are true, LOEWE FW25 marks the swan song of Jonathan Anderson’s transformative tenure at the Spanish luxury house—a tenure that has defined an era of cerebral fashion, sculptural play, and a reinvention of leather craftsmanship. In a collection imagined as a "scrapbook of ideas," Anderson crafts a final chapter that feels both deeply personal and profoundly LOEWE, an echo of the visual language and conceptual layering that has come to define his reign.

From the moment the first look appeared in the transformed Hôtel de Maisons, it was evident that Anderson was in a reflective mood. His signature trompe l’oeil, exaggerated silhouettes, and material distortions were all present, but this time, filtered through the rigorous precision of modernist pioneers Josef and Anni Albers. The Albers’ influence—particularly Josef’s Homage to the Square series—materialized in nested squares, color blocks, and spatial illusions, bringing an intellectual edge to LOEWE’s famed Puzzle, Flamenco, and Amazona bags. Anni’s woven artistry, which challenged the hierarchy of art and craft, was reinterpreted in textile treatments, outerwear, and accessories, bridging tradition and innovation in the way Anderson has done so effortlessly for over a decade.

The collection itself was a masterclass in scale and subversion—solid structures composed of micro-elements, tiny rings transformed into tops, oversized tricot stitches morphing into sculptural pieces. Anderson pushed his aesthetic even further into the surreal, with leather elongated and draped like silk, jersey dresses sculpted into orb-like volumes, and hybrids of everyday staples fused together into new, unsettling forms. A classic Prince of Wales check liquefied into metallic fringes, while sheer beaded organza dresses played with opacity and illusion, embodying the very essence of fluidity that Anderson has championed at LOEWE.

But it wasn’t just the clothes that spoke—it was the space itself. The show unfolded in seventeen meticulously curated rooms, punctuated by past LOEWE collaborations and installations that felt like a retrospective of Anderson’s time at the helm. Anthea Hamilton’s Giant Pumpkin No. 2, Yoshihiro Suda’s Morning Glory, and Zizipho Poswa’s bold ceramic vases were among the art world’s interventions, reinforcing Anderson’s consistent dialogue between high fashion and high art.

Since taking over LOEWE in 2013, Anderson has rewritten the rules of how a heritage house can evolve. He turned an age-old leather atelier into a conceptual powerhouse, making LOEWE a cult favorite among the intellectual elite and avant-garde tastemakers alike. From his gargantuan knits, surrealist footwear, and architecturally draped leather to the revival of artisanal weaving techniques and craftsmanship, Anderson has built a world where the absurd meets the exquisite, where historical reverence and futuristic vision exist in perfect harmony. His work at LOEWE has been nothing short of radical, positioning the brand at the intersection of luxury, art, and conceptual fashion—an achievement not easily replicated.

But as the presentation concluded and the mannequins stood frozen in time within the historic interiors, one question lingered: is this really the end? While neither LOEWE nor Anderson have confirmed the speculation, industry whispers suggest this was his final presentation for the house. If so, LOEWE FW25 stands as a poignant farewell—an intellectual and emotional culmination of a decade of innovation, leaving the industry to wonder: where does Jonathan Anderson go next?

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