September 24, 2018 |
Opened in 1958, the Maison de L’Unesco in Paris, was created as a centre to educate visitors on culture and art and to serve as an arts centre for the city. The listed building was a fitting home to an art-world infused Loewe show. Feather plumes lined dresses and basket bags and the beautiful matching earrings – some worn single – spoke of Lagerfeld for Chloe. A drop-sleeved cardi came teamed with a huge bulbous skirt; a contemporary reissue of the hobble.
Sportswear codes were given the Anderson treatment, too, with three-stripe cropped cotton trousers and matching jacket. But it was the late ‘60s San Fran patchwork dresses and skirts, that were strongest. These spoke of artisans and rich hippies on faraway retreats; they spoke of art and artists and business women buying art – a serious business that requires serious financial clout and immaculate suits for snatching that super-rare Rothko.
But most of all they spoke of technical flair and nous and of a superlative craft found in the Loewe studio.
As women with money *and* taste pull themselves up and away from those with *just* money… a new niche opens up on the luxury market, where white space once sat. In that place is Loewe. These shoppers demand more than just a “beautiful jumper”. They demand artful and thoughtful and wardrobe-driven. The demand functional and beautiful as well. They demand a challenge and designed clothes and a wardrobe filled with art.
Photographs by Jason Lloyd-Evans.
