'JW Anderson rooted his previous Loewe collection in surrealism and the new one is a continuation of it, though the mood has darkened and the styles are more disturbing and perhaps difficult to embrace' CathyHoryn reports
Photo: by The Cut; Photos: Courtesy of Loewe, Marine Serre Before the start of Jonathan Anderson’s outstanding Loewe show on Friday at the Paris Tennis Club, a friend and I were marveling at the beautiful boxes that luxury objects come in. At the turning point of the Industrial Revolution, in the mid-1800s, when capitalist culture was exploding, the box was quite a phenomenon.
Then the show began: three mini dresses, in chocolate brown, light pink and blue, their hems seemingly ruffled by a breeze, followed by two dresses with the shape of a small automobile trapped in their hems. The minis were actually made of leather that had been soaked in water and molded onto a form in order to simulate the movement of the garment, while the car dresses, we later learned from Anderson, referenced the transition from the industrial age to the early 20th century.
And considering how much we obsess about technology and the speed of change, it makes sense to look at an earlier big shift of thought. Anderson rooted his previous collection in surrealism and the new one is a continuation of it, though the mood has darkened and the styles are more disturbing and perhaps difficult to embrace. For that reason, among others, I liked the new clothes and accessories much more.
France Dernières Nouvelles, France Actualités
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