Review of Loewe Spring Summer 2021 Collection

This week, there was buzz circling the digital community as guests started receiving their ‘invitations’ to the SS21 Loewe show. The brand has a physical presentation in Paris, but the rest of the people outside Paris were invited to view the presentation virtually with the show invites delivered right to their doorsteps.

If last season was about miniaturising, this season’s collection — called ‘Show-on-the-Wall’ — is all about life size. The invitation resembled an artist’s kit, with rolls of wallpaper, scissors, paint brush and 1:1 posters of the looks, among other things. Remote attendees were invited to create their own ‘Show-on-the-Wall’, becoming creators in their own right.

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“How do we re-conceptualise fashion in this moment?” creative director Jonathan Anderson asked in the SS21 collection video. The limitations caused by lockdowns and restriction of travel have triggered endless possibilities for the designer, as seen by the ‘invitation’ that was conceived as a super-sized artist’s portfolio. The unique wallpaper was designed by Anthea Hamilton, an artist Anderson collaborated previously for an installation in Tate Britain in 2018. Other notable items in the portfolio included a screen print of an archival image by Steven Meisel, a ceramic disc infused with Beetroot scent, and the sheet music for Thomas Tallis’ Spem in Alium. 

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Following the Fall Winter 2020 collection that explored unexpected volumes and shapes, brand new silhouettes were again invented by Anderson for Spring Summer 21. These consisted of bubbles and flaps emerging from the sides of the skirt, waist, neck and pant legs. The full sleeves were taken to another extreme; one ensemble was rendered almost completely circular by the billowing sleeves and pant legs. Volume was created with pleating and the expert gathering of abundant fabric into the wrists and hems. It was also done through intricate ruching, such as in a bubble skirt that took the form of a sea urchin. Undulating volume and fit brought balance, like exaggerated balloon pant legs paired with fitted tuxedo jackets. However, nothing in the collection fully adhered to convention; even the tuxedo jackets had a twist, with silk ‘bubbles’ protruding from the sleeves. These shapes were inspired by Spanish theatre costumes as well as the fabrics and cuts of the dresses of flamenco dancers. 

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Couture techniques were also employed in this collection. On one dress, the bodice consisted of a lattice encrusted with tiny applique flowers. The idea that embroidery was done by hand was highlighted by leaving the remaining threads to linger to the floor like tassels. Hand-woven leather was used to create sculptural shapes. There was also experimentation with boning using innovative methods to create an illusion of lightness and movement frozen in time. Though the collection had a clear couture vibe, the diverse and eclectic model casting in the campaign images (including artist Anthea Hamilon herself), and styling elaborate dresses with sneakers, made these looks seem plausible for the everyday person on the street. 

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As for the iconic bags that have become a symbol of the fashion industry insider, these were also given a couture makeover. The Puzzle bag that Anderson introduced to the house is now covered in sequins and also in Hamilton’s whimsical wallpaper print. He also introduced a new carryall — the Shell bag. For this design, Anderson was inspired by 18th century American ceramicist George Ohr, whose technique of working with clay as sheets was modern beyond its time. 

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The year 2020 has been a state of chaos but it appears that, for Anderson, adversity births innovation.

All images by Beige Pill Productions unless otherwise stated