Under Jonathan Anderson’s stewardship, Loewe became both a darling among critics and a commercial dynamo. His emphasis on bridging fashion and craft, and bringing them both under the umbrella of art, makes the wearers of his creations feel as if they were doing something more cerebral and aesthetically elevated than merely consuming luxury goods. Anderson preferred to characterize Loewe as a cultural brand rather than a luxury one, finding the latter term despoiled. “The luxury brand became as mass as the mass brand,” he said. Instead, he argued, a fashion house like Loewe should offer its followers a form of aesthetic aspiration, and also a form of education, in part by introducing them to living and historical artists and to designers whose work they otherwise might not encounter.

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Under Jonathan Anderson’s stewardship, Loewe became both a darling among critics and a commercial dynamo. His emphasis on bridging fashion and craft, and bringing them both under the umbrella of art, makes the wearers of his creations feel as if they were doing something more cerebral and aesthetically elevated than merely consuming luxury goods. Anderson preferred to characterize Loewe as a cultural brand rather than a luxury one, finding the latter term despoiled. “The luxury brand became as mass as the mass brand,” he said. Instead, he argued, a fashion house like Loewe should offer its followers a form of aesthetic aspiration, and also a form of education, in part by introducing them to living and historical artists and to designers whose work they otherwise might not encounter.
Today, Anderson announced that he would be leaving Loewe after 11 years as the brand’s creative director. It’s rumored that he will soon be appointed at Dior. Read Rebecca Mead’s new Profile of Anderson, in which she writes about how the designer reimagined Loewe—and what might be next.

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