LOEWE’s New IG Live Series Seeks to Connect, Educate and Inspire

#StayAtHome with the label’s past artistic collaborators.

To embrace the health guidelines and encourage people to say at home, Loewe is launching an ongoing series of events and workshops dubbed Loewe en Casa that will take place on Instagram Live. Through the art and crafts-focused initiative, the luxury label is attempting to connect and engage with their social audience during challenging times.

Loewe’s creative director Jonathan Anderson wanted to use this virtual space to turn a shared situation into an occasion of actual and factual enrichment. In keeping with this objective, the project will feature the brand’s past artistic collaborators and Loewe Foundation Craft Prize alumni like the Spanish artist Gloria Garcia Lorca, U.S. National Soccer Team athlete, and star of Loewe’s Fall/Winter 2020 campaign Megan Rapinoe and the Irish-born ceramic sculptor Sara Flynn.

See the full schedule for the week to come below, and don’t forget to tune in when the time comes.

Monday 4 May, 18.00 CET: Megan Rapinoe & Jonathan Anderson 

LOEWE creative director Jonathan Anderson will be joined live in conversation by American professional soccer player Megan Rapinoe.

Rapinoe features in the LOEWE Fall Winter 2020 women’s and men’s campaigns by Steven Meisel, previewed earlier this year, as well as the ongoing series of short films For Real.

Thursday 7 May, 19.00 CET: Josh O’Connor & Sara Flynn

British actor Josh O’Connor will be chatting live to ceramicist Sara Flynn from her studio in Belfast.

Flynn trained at the Crawford College of Art & Design in Cork and now lives and works in Belfast, and was a finalist in the inaugural LOEWE FOUNDATION Craft Prize in 2017.

Later, for Chance Encounters in 2017 presented by the LOEWE FOUNDATION and curated by Jonathan Anderson as part of Art Basel Miami Beach, Flynn produced a new body of ceramic work specifically for the exhibition that engaged with the space and materiality of the historical Granary building installed there. Despite using a wheel to throw her pots, Flynn’s subsequent interventions result in complex and irregular shapes that challenge our reading of the vessel, bringing them into closer dialogue with the language of sculpture.  

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