By reflecting on echoes of early modernism in contemporary art today, Jonathan Anderson posits the LOEWE Spring Summer 2019 Women’s show inside a simulated exhibition construct at the Maison de l’UNESCO in Paris. Entering through the recreated façade of experimental London gallery SIGNALS (1964-66), the restored mid-century rooms play host to a sequence of kinetic, sonic and fibre art experiences.
Preceded by the textural blur of Lara Favaretto’s spinning car wash brushes, rustic woven baskets by LOEWE Craft Prize finalist Joe Hogan are placed around an adjoining room. A third space hosts a symphony of record players cradling ceramics by Ryoji Koie, and a fourth is overrun with floating soap bubbles.
Placed within this conceit the collection bristles with a Brutalist hedonism, where matte, raw textiles are elevated by swathes of opulent colour in an inky, aquarelle palette. Framed by whipcord collars in exotic leathers, the silhouette curves and
inflates in dynamic tent volumes, creating odd intimacies between fabric and skin. Bishop, bell, and Juliet sleeves balloon on ruched tops and fisherman sweaters, whilst crinkled technique is applied to waffled jacquard and fine lambskin ensembles.
Wildean puffs of ostrich feather bristle against humble topstitched gabardine, mimicking the lattice fringe scarves embedded (like racing stripes) down tunics and blouses. Gathered by smocking and padded inlays, puff dresses in poplin and broderie anglaise explore suspended asymmetries, and foamy cotton muslin is patchworked with rich LOEWE suede.
Joe Hogan’s influence is apparent across the LOEWE accessories collection, as the Puzzle bag appears in woven calfskin and the Gate bag is thatched in straw. The plaited Kite bag cascades with leather fringe, and new baskets explore floral raffia in natural and multicoloured weaves.