Jonathan Anderson continues to garner accolades. In the past few weeks alone, he’s dressed Rihanna in a Loewe outfit for the Super Bowl halftime show. London During his fashion week, his JW He presented one of his most acclaimed collections for the Anderson brand, and Neiman awarded him the Marcus Award for his creative impact in the fashion field. Awarded.
Geoffroy van Raemdonck, CEO of the Neiman Marcus Group, said the award recognizes “creativity beyond product”, given the way Anderson positioned it to “break the boundaries of fashion”. , said it was a “clear choice” in this respect. Loewe is a cultural and “thought-provoking” Maison.
“At the same time, he is able to modernize Loewe’s traditional craftsmanship,” added van Remdonk. “It’s about reviving the brand, staying true to its history, but projecting it into the future with a very strong point of view.”
Indeed, the Northern Irish-born designer has been keeping Loewe alive since he took over the creative wing in 2013.
His transformation of a traditional Madrid-based brand is assured and innovative. He initially repurposed 90s fashion imagery for his current advertising campaign. He introduced his concept of a dramatic store with artistic elements such as Picasso porcelain and Lenny He Mackintosh chairs.
He also keeps awake with attractive accessories and clothing suggestions. He fuses a toy car and fiberglass flowers into a dress. He grows living plants in sneakers and jeans, and shrinks and enlarges familiar clothes to create new proportions that are both fascinating and unexpected.
“What makes him special is his references outside the world of pure fashion,” said Lana Todorovic, chief merchandising officer at Neiman Marcus. It refers to the filmmakers, sculptors, painters, textile artists and architects who have worked with us and who occasionally help us create sets, fabrics and capsule collections for our shows. It makes him recognizable and makes him stand out in the world of luxury.”
Todorovich also praised his “intelligent approach to fashion” and “brilliant touches that push this boundary”.
In his recent Loewe collection, Anderson references the Old Masters and Surrealist art movements.
“He’s done this in a really unique, bold and brave way, and this is what we really appreciate about his fashion,” she said.
Todorovich praised how Anderson brought “retailtainment” to Neiman Marcus, with Loewe’s tropical-themed takeovers for the summer’s Paula’s Ibiza collection in Los Angeles and Atlanta last year.
“It was a really special immersive experience,” she enthused, noting that Anderson is “very involved in curating the message, curating the environment.”
Neiman Marcus started selling Loewe women’s handbags and accessories in 2014, and the brand is now available in 24 doors and online.
Handbags remain the largest category, but retailers have flagged “significant growth” in women’s ready-to-wear and women’s shoes in recent years. We also handle
Todorovich noted that some of Anderson’s most eccentric designs, such as shoes with cracked eggs and upside-down flower heels, are selling well. “Sell Thru was amazing, and we carried the full range of his truly unique and groundbreaking styles,” she said.
Anderson spoke with WWD on the occasion of the Neiman Marcus recognition at the awards ceremony scheduled for March 5th during Paris Fashion Week.
In an interview, the designer talked about the importance of cultural relevance, the value of dullness, and why balloon-heeled shoes aren’t full of heat.
WWD: How have you seen the evolution of luxury since joining Loewe?
Jonathan Anderson: The first time I pitched to Delphine [Arnault], the concept I came up with was… luxury is dead and ultimately the brand must become a cultural brand. So how do you put culture at the forefront of your brand? That’s why we started the Loewe Craft Prize, why we did all the projects at Salone del Mobile, why we started an art collection. , which is why we have sponsored so many museum shows and supported artists.
For luxury to be relevant, it ultimately had to blend into the cultural landscape. And I think this will ultimately remain true.
WWD: In a 2014 interview with WWD, just before your first show, you said you wanted Loewe to quadruple its size. Mission complete?
Day.: I think there is. I’m not allowed to talk about numbers, but I’d say he’s probably more than quadrupled. A large threshold has been crossed. Let’s do it that way.
WWD: You quickly connected Loewe to culture with Steven Meisel’s photographs and 18th-century breadbaskets in Miami stores. How does this fit into your design ethos?
Day.: It comes down to this idea of past, present and future. I was in the brand about the past, but when I entered the brand it was ultimately about the present. And I had to think about what the future holds for this brand. Meisel’s beach imagery was influenced by Alex Katz’s beach paintings. A painter paints a picture, a photographer takes a picture, and 20 years later this image is finally presented as a new one. To put it in a weird way, that’s what fashion is, a cycle that goes on and on and on and on to improve itself.
A brand is about storytelling. There’s a complex language that’s being built, but ultimately it’s about taking people on a journey of what they expect, or don’t expect. I think that’s the good thing about Loewe.
Obviously there was a time when Karl Lagerfeld and Giorgio Armani did, but I didn’t really have an archive of clothes, so I always said it was my job to put the ready-to-wear language into Leather House. I felt thing. There was also Narciso Rodriguez and Stuart Vevers. But aside from 1970s suede, there was no cohesive fashion language.
WWD: It has also played craftsmanship and contemporary crafts since the beginning. What is your reaction?
Day.: Seen in sales. When I first thought of Spain when I attended, I always thought of baskets as odd. But baskets, whether they’re leather baskets or straw baskets, are one of our biggest sales departments. We make baskets in about 7 countries, from Africa to Madagascar, Spain and of course Italy. And what’s interesting is that consumers want to see something about physicality and makeup. Who would have thought that luxury brands themselves could sell raffia baskets?
WWD: I feel like your tenure at Loewe can be divided into distinct chapters. Did you map it that way on purpose?
Day.: I think there is definitely a pre-pandemic Loewe and a post-pandemic Loewe. I think the pandemic changed me. I think I was able to reset a little. I feel like the stakes have gone up and I think I’ve finally been able to focus more. I think the pandemic has allowed me to slow down a bit and sharpen my sword.
WWD: You seemed to enjoy your boxed collection during the pandemic, but you seemed to enjoy your return to real-world fashion shows just as much.
Day.: I realized that I was a bit orthodox.the pattern was broken [by the pandemic] We had to focus on how we could tell the story through the box, but in the end we were thrilled to do the show again. Then when we did that show, the first show where models emerged from under the floorboards, the collection was based on the Italian painter Pontormo. I feel like I’ve found the idea that if you put something on the runway, it has to be important.
WWD: How long have you been planning your collection?
Day.: Usually most of the collection starts about 9-10 months in advance. I’m not good at working last minute and I find it really hard to finally be able to build a story. He doesn’t mind having two extra looks, but he can’t handle having too many.
WWD: Your latest chapter has some surreal elements and a lot of candor. Please tell me about it.
Day.: My biggest fear as a designer is to be known for one thing. Also, I find it very boring. After the pandemic, we somehow experienced a renaissance. That was the Pontormo collection, which has since evolved into something more surreal. And since the last show we did [anthurium] flower. Everything in my head feels more reduced and duller. Recently, Less-is-more has suddenly become exciting, even for my own brand. It feels like there’s so much going on in the fashion world right now, so I thought I’d summarize it.
It feels like a lot of fashion these days has been about the overall styling of the show. That is, there are hats, coats, items, and shoes, bags, and socks. I think that’s where we’re headed now to have the confidence to take things off. This is where things get more elevated, more graphic and more focused. It feels like fashion is finally heading towards an era with a more rigorous vision.
WWD: You seem very involved in the retail experience, such as artwork and furnishing selection. What kind of experience are you trying to create?
Day.: We are very fortunate to have Paula as an architect in our company. [Aza Custodio]Our stores are different from store to store because they reflect the city. Finally, you are stepping into a carefully selected space that is not conventional luxury. It is this balancing act that elevates the product.
All the furniture, the pottery, the artwork, all these things I sourced with Paula and Pascal. [Lepoivre, Loewe’s chief executive officer]New York is very different from LA, and LA is very different from Miami. I’m not a fan of cookie cutters, so each store has its own vocabulary.
WWD: What is your proudest achievement with Loewe so far?
Day.: People are still starting to respect the brand and I hope more people know how to pronounce the name. I think there is. I find this very difficult at times. You know, I think some people are very used to the following.
Loewe Craft Prize is also set up. It’s a huge undertaking and a huge investment in craft. I hope that it is an important legacy that I have left for the brand, not only for the last ten years, but for the future of the Loewe brand.
When you step into a Heritage brand, it predates all of us. Loewe was founded by him in 1846. So I think it’s important to build a long-term foundation. Because I think the brand has to survive another 100 years.
Today’s creative director’s job is to bring the brand’s DNA to the forefront and make it relevant to its time. It’s not about changing the actual DNA of the brand itself.
WWD: Dressed in metal clothes, broken egg shoes, and card dresses, she’s not afraid to take risks on the runway.
Day.: I never thought people would buy cracked eggs in their heels, or balloons, or all sorts of weird and wonderful things that we’ve been doing. It’s amazing what you want for unique clothes. It’s kind of crazy that balloon heel shoes sell out. But the amazing thing about fashion today is that people have the courage to experiment. Sometimes it feels like big brands are being too conservative and underestimating the consumer. Obviously I’ve never sold trousers with grass growing on them, but you don’t know?