In a world where more is merrier, LOEWE’s recent runway collection takes a step in the complete opposite direction. By stripping away the extraneous, Creative Director Jonathan Anderson has debuted a collection that is both a master-level example in simplicity and a downright diss on the trend of overconsumption. Using a rather simplistic venue for his SS25 women’s show, Anderson utilizes a soundtrack of classic Bach tracks to fill the halls of the show space at Esplanade Saint Louis in Paris and incorporates a naturalistic way of life—bird noises, bongo drums, and more—with the addition of a mix of groovy techno beats for the models to strut to. 

The silhouettes that make up the collection are a study of completed movement. Although tailoring becomes more structured at the bottom of the designs, the fabric seems to drape and flow, as if the models are physically gliding down the runway. Reduced to a whisper of luxury, the fabric is allowed to flow like a liquid, creating a sense of volume and structure that is both architectural and organic. A focus on structure is not foreign to the house, but this collection brings even more detail to the construction of these designs, along with the use of unconventional fabrics and textures such as painted bird feathers or mother-of-pearl shavings.

Delicate silks are adorned with impressionist flowers that seem to bloom and wilt in the light, while blank shirts and a cozy jumpsuit are printed with either a portrait of Mozart or Bach, paintings by Van Gogh or Monet, or a Moto Race graphic. Mother-of-pearl shells glimmer on the runway, soft and squishy nappa leathers add a professional touch to the collection, and all-over sequins on knits play off light and shadow. The accessories in the collection are equally impressive. Footwear is a key component, with boat shoes, elongated oxfords, and high-top Ballet Runners providing a grounded, athletic counterpoint to the graphic silhouettes. The Madrid, a light and supple trapezoid-shaped bag, is introduced—its clean lines and minimalist structure are a perfect foil to the more elaborate designs. The bags seem to float alongside the models as if suspended in mid-air as they walk.

But what truly sets this collection apart is the show space itself. Featuring a single sculpture by British artist Tracey Emin, “The only place you came to me was in my sleep” from 2017, the space is a work of art in its own right. The sculpture, a small bird perched on a towering post, is a powerful symbol of liberty, encouraging the audience to imagine the bird’s imminent flight. The bird seems to gaze out at the audience, its eyes piercing and intense, as if daring them to look away, but always looking for more.