Jack McCollough And Lazaro Hernandez Turn Loewe Fall/Winter 2026 Into A Technicolour Dreamscape
The American duo continues their colourful approach and playful narrative with a side of art for their sophomore outing at Loewe, proving once again that it remains one of the most experimental and visually exciting houses to watch.
By Windy Aulia - published
The Loewe fall/winter 2026 show delivered one of the most visually imaginative moments of Paris fashion week to date, presenting a collection that felt equal parts fashion show and art installation. As Jack McCollough and Lazaro Hernandez shared in the press release post-show, “As we began conceptualising our second collection at Loewe, we were struck by a simple truth: for us, the act of making is, at its core, an expression of joy—an intellectual, process-driven pursuit charged with playfulness.”
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The historic Spanish luxury house, known for its deep roots in leather craftsmanship, has shown tremendous effort in pushing the boundary between art and fashion, ever since Jonathan Anderson entered the picture in 2013. However, under Anderson, the approach felt more romantic and contemplative in nature, favouring collaborations with the likes of Studio Ghibli and William Morris. Jack and Lazaro have opted for a more surrealist approach—just as well, keeping it closer to the other famous Spaniard export, Salvador Dali, better known as the father of the Surrealism movement.
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To show this, the duo leaned into exaggerated shapes, unexpected textures, and a sense of curiosity that made the entire presentation feel almost dreamlike, which led them to find their own artist. “Humour, levity, and a bright, inclusive spirit—qualities we recognise as intrinsic to Loewe’s Spanish heritage—led us to the work of Cosima von Bonin, an artist we have long admired and with whom we were fortunate to spend time recently.”
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The show setting itself immediately signalled that this would not be a conventional runway. Sculptural sea creatures created by the German sculptor sat among guests, including oversized plush whales and other aquatic figures that transformed the front row into something resembling a whimsical gallery. This unusual staging created a striking visual contrast with the bright colours of the collection.
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The collection focused heavily on colour, shape and proportion. Many of the garments appeared intentionally distorted or enlarged, with ballooning silhouettes and sculptural forms that extended beyond the natural lines of the body. Coats curved outward dramatically, sleeves were elongated to exaggerated lengths, and dresses seemed inflated with volume, giving the runway a sense of joyful experimentation. These silhouettes felt almost architectural at times, turning clothing into objects that invited the audience to look at fashion from a more artistic perspective. Instead of designing purely for practicality, the creative direction embraced the idea that runway fashion can be expressive, bold, and visually provocative.
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Material choice also played a key role in shaping the identity of the Loewe fall/winter 2026 collection. While the house’s mastery of leather craftsmanship remained present, it appeared alongside glossy coatings, rubberised textures, and unexpected finishes that gave the garments a futuristic quality. Knitwear pieces were reimagined with strong sculptural shapes, proving that even softer fabrics could hold dramatic structure. While high-performance textiles—with some pieces said to even be 3D printed, as with the pair’s debut one season ago— marked their continued dalliance with Loewe’s artisans.
They shared, “One key consideration was how this spirit of play might broaden the codes we articulated during our first season at Loewe. How does the sun-drenched, optimistic physicality of our first season merge with this playful, experimental act of making to become something new—something more nuanced and layered—yet remain profoundly Loewe?” This contrast between heritage craftsmanship and experimental materials created an interesting tension throughout the show.
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One of the most refreshing aspects of the show was its sense of playfulness. Certain looks hinted at toy-like proportions or nostalgic references that felt almost childlike in spirit. They were alien, new to the eye, foreign yet familiar. They were asking us to see things in a different light, a completely new perspective.
Much like Dali’s works, such as ‘The Persistence of Memory’ (1931) with its famous melting clocks and the mesmerising blue-yellow horizon or ‘The Lobster Phone’ (1936) with the juxtaposition of a plaster lobster atop a functional Bakelite telephone or ‘The Great Masturbator’ (1929) with its highly sexual theme, there’s something so introspective, honest yet perverse, and youthful in the way Jack and Lazaro brought Loewe forward. And they proved to us, once again, that it remains one of the most experimental and visually exciting houses to watch in modern luxury fashion.