Creative Director Jonathan Anderson presented the LOEWE Fall/Winter 2025 collection as a scrapbook, integrating past and present, artistry and craftsmanship into a unified vision for both menswear and womenswear.

With speculation that he may soon take over as Dior’s creative director, this collection feels like a reflective journey, perhaps even a farewell. It encapsulated his signature motifs and creative legacy at LOEWE into a deeply personal statement.

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Over the years, Anderson has redefined the house’s identity, transforming it into a beacon of bold, conceptual design. Intricate treatments redefine familiar textures: a Prince of Wales check dissolves into metallic fringes, beaded organza strands create the illusion of transparency, and embellishments appear across clothes, accessories, and footwear.

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LOEWE’s signature trompe l’oeil illusions, exaggerated proportions, and sculptural tailoring take on new depth through a collaboration with the Josef & Anni Albers Foundation, drawing from their groundbreaking mid-century modernist work.

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Josef Albers’ Homage to the Square series, known for its vibrant color compositions, is reimagined on LOEWE’s iconic bags, including the Puzzle, Flamenco Clutch, and Amazona. Meanwhile, Anni Albers’ woven textiles inspire the textures and intricate details of coats and accessories.

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Likewise, the collection references Josef’s Precinct (1951) and Light Soft (1968) through geometric motifs, while Open Letter (1958) is woven into patterns. Expanding on this exploration of materiality, the Toy mules and Ballet Runner 2.0 are reworked with shearling.

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Instead of a traditional runway show, the collection was presented inside the historic 18th-century Hôtel de Maisons, which was transformed into an immersive showcase of the brand’s artistic universe. Seventeen themed rooms feature a curated mix of artworks and installations referencing past shows and campaigns.

Highlights include Anthea Hamilton’s Giant Pumpkin No. 2, Zizipho Poswa’s sculptural vases, and Yoshihiro Suda’s Morning Glory, fostering a dialogue between fashion and contemporary art. Oversized acrobat figures from the LOEWE jewelry collection and a sculpted apple from the Spring/Summer 2025 pre-collection campaign further amplify Anderson’s surreal, theatrical vision.

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If this is indeed his final collection, it’s no surprise that it challenges conventions, deconstructing traditional notions of garments. In Anderson’s LOEWE, meaning is subjective, possibilities are endless, and fashion defies definition itself.