When you’ve got Paul Thek’s “Spinning Top” installation, Peter Hujar’s “Shoe for Elizabeth” photograph, a Charles Rennie Mackintosh “Argyle” chair and Carlo Scarpa’ “Easel” scattered around the runway, then you know it must be a Jonathan Anderson fashion show. No other designer has such a sensitivity towards contemporary art like Loewe‘s creative director, who often works and creates like a curator. This season, however, Anderson resorted to radical restraint in regards of his menswear. “Razor looks” is how he described his approach. It indeed was sharp. Slim silhouette, very French C-suite tailoring with almond-toe leather oxfords in black opened the show. Shorts and t-shirts were painted with a cable knit shaped finish. Edged in golden piping and emanating a shiny gleam, they appeared almost ceramic. A short-sleeve shirt was fabricated in sections of tonal fringe that resembled a hairy houndstooth, while a long brown coat was made in nappa leather on its right side that gradually transitioned into ostrich on its left. Anderson said the gold or monochrome feathers were there to divide our view of the faces beneath them as part of his consideration of forced perspective. This was a collection that stimulated you to question exactly what it was you were seeing, without going for chaotic eclecticism that Anderson has been channeling lately.

Collage by Edward Kanarecki.
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