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Business of Fashion
a day ago
- Business
- Business of Fashion
Delphine Arnault Confirms Jonathan Anderson's Dior Takeover
ROME — Delphine Arnault is buoyant as she explains the logic behind one of LVMH's highest-stakes designer appointments in years: former Loewe creative director Jonathan Anderson will succeed Maria Grazia Chiuri at Christian Dior, putting the women's and men's sides of the group's second-biggest fashion label — and French national treasure — under a single creative director for the first time since Monsieur Dior himself. We are having breakfast in Rome, where the next day Chiuri staged what would prove to be her final runway spectacular for Dior, but Arnault's mind is already sharply focused on reviving the fortunes of a brand that quadrupled revenue from €2.2 billion ($2.5 billion) in 2017 to €9 billion in 2023, according to estimates from HSBC, before being hit hard by a sharp slowdown in luxury demand. Delphine, the eldest child of LVMH chairman Bernard Arnault and Dior's chief executive, has been schooled in the luxury business for more than 20 years. Right from her early days working at Dior, where she spent 12 years before moving to LVMH stablemate Louis Vuitton for a decade-long stint as executive vice president overseeing product-related activities, she has taken a particular interest in cultivating relationships with creative talents in the industry. In 2014, she founded the LVMH Prize, which has become the industry's most prestigious award for emerging designers. When she first met Jonathan Anderson in a small apartment he had rented near the Gare du Nord in Paris about thirteen years ago, she was struck by his creativity and clarity of vision. Shortly thereafter, in 2013, the group took a minority stake in his fledgling JW Anderson label and appointed him creative director of the Spanish leather goods brand Loewe, founded in 1846. Loewe had a rich heritage in craft, but had failed to gain commercial traction under LVMH's ownership following its acquisition in 1996. Anderson transformed Loewe from a sleepy heritage brand without a clear fashion vision into one of the luxury industry's most desirable, culturally relevant labels. Building everything around his personal obsession with craft, which became the defining purpose for the brand, he established a consistent brand framework, created with longtime collaborators M/M Paris, that seemed to elevate and amplify whatever he put inside. The Puzzle bag, launched in 2015, became an instant brand icon, leveraging Loewe's deep expertise in leather goods manufacturing. He established the Loewe Foundation Craft Prize in 2016 to celebrate and support contemporary craft. And his Loewe fashion shows became one of the highlights of Paris Fashion Week, pushing forward his creativity while showcasing his talent for curating artists, celebrities and other cultural figures. During Anderson's eleven-year tenure, Loewe's estimated annual revenues grew from around €200 million to more than €1.5 billion, according to market sources. Mission accomplished. But to retain an energetic and ambitious designer like Anderson, Arnault knew she needed to give him a new challenge. In April, Mr. Arnault, in response to a question at LVMH's annual shareholders meeting, unexpectedly confirmed one of fashion's worst-kept secrets: that Anderson would be taking on the creative leadership of Dior's men's collections. Anderson was already in the process of assembling a team and preparing for his Dior Homme debut on June 27 during the Paris menswear shows. Dior will skip the Haute Couture shows in July, meaning we won't get a glimpse of Anderson's vision for womenswear until Oct 1, during what is shaping up to be a historic and hyper-competitive fashion month which will also feature designer debuts at Chanel and Gucci, as well as at Balenciaga, Loewe, Bottega Veneta, Versace and Jil Sander, as a number of top brands recast their creative leadership to help bolster sales in a difficult luxury market 'Having worked within the LVMH group for over a decade, I'm deeply grateful for the trust and support Bernard Arnault and Delphine Arnault have given me over the years, allowing me to develop my voice as both a designer and a leader,' told BoF in a brief written statement. 'Their decision to appoint me as creative director of Dior is the ultimate expression of that trust, and I'm incredibly humbled and honoured by this opportunity.' 'Jonathan Anderson is one of the greatest creative talents of his generation. His incomparable artistic signature will be a crucial asset in writing the next chapter of the history of the House of Dior,' added Bernard Arnault. No doubt. But Anderson surely has his work cut out for him. In revenue terms, Dior is about four times the size of Loewe so his new job comes with a significant increase in scale and responsibility. Anderson will go from designing nine collections per year at Loewe to 10 collections per year at Dior, including, for his first time, two haute couture collections. His sprawling remit for Dior will come on top of his responsibilities at JW Anderson, where he will continue to design six collections per year, according to the brand's chief executive, Jenny Galimberti. While there will be no JW Anderson shows in 2025, the brand will be hosting a number of events and presentations, and will reveal a new go-to-market strategy in July focused on local craft and making. Then there's also the ongoing JW Anderson collaboration with Uniqlo, which is another two collections per year. That's a total of 18 collections per year, meaning Anderson is set to become the industry's most prolific, multi-tasking designer since Karl Lagerfeld. What's more, Anderson is joining Dior at a challenging moment. Sales at LVMH's fashion and leather goods group, which houses Louis Vuitton and Dior, were down 5 percent in the first quarter of 2025, missing analyst expectations. While LVMH does not break out performance by brand, chief financial officer Cécile Cabanis said in the company's most recent earnings call that Dior performed 'slightly below' the division average. Bernstein analyst Luca Solca estimates that sales at Dior were down mid- to low- teens in Q1 2025, a significant deceleration after years of unprecedented expansion. Like its main rival Chanel, Dior is contending with a value-for-money issue after implementing some of the industry's most aggressive price hikes. Between 2020 and 2023, Chanel's prices rose 59 percent on average, while Dior raised prices by an average of 51 percent, according to analysis by Bernstein. Some customers seem to have rejected the price increases and become tired of the ubiquity of luxury fashion, and are focusing more of their spend on travel, hospitality and fine jewellery. Can Anderson do for Dior what he did for Loewe? There's no doubt it's a mammoth job. But Arnault contends that his unique blend of creativity and cultural intelligence, his proven ability to design commercially successful luxury products and his experience in leading and inspiring creative teams makes him the obvious choice to write Dior's next chapter. The Logic Behind the Appointment Imran Amed: I think what everyone's really interested in understanding is the thinking behind your decision. When you're picking a designer for a brand as important as Dior and you decide on someone like Jonathan, what thinking goes into that? Why is he the right choice? Delphine Arnault: Jonathan was the obvious choice. I think he's the most talented designer of his generation. I remember going to see his collection in Paris, near Gare du Nord in this little flat on the fourth floor with no elevator. I rang at the door, and there he was. That was maybe 13 or 14 years ago. I'd never heard of him before, but even then, at maybe 24 years old, he was incredibly sharp — very talkative, super smart, and full of ideas. He's still like that today. What he's done at Loewe is remarkable. He may only be 40 years old, but for his age he brings a lot of experience. Dior is a very big house, and he'll have big teams to manage. We have the best ateliers, both in haute couture and ready-to-wear, and he's going to have to work with very large teams. That requires real skill. At Loewe, the team isn't as large, but he's proved he knows how to build and manage teams, how to bring people together, and how to choose the right collaborators. It's a gift. It's not the same to manage a small team at a small brand and arrive at a place where you have to manage a lot of people. We've talked a lot. I think I haven't missed a Loewe show — maybe one — but you know, I've been following his path for a long time. I love finding new talents, and I was a big supporter of his talent early on. My father was also involved in the choice of Jonathan, of course. He's been also following his work and seeing him often throughout the years. Jonathan is also very loyal. He stayed 11 years at Loewe, even though I'm sure that he had many [other] propositions. For all these reasons he's the perfect choice for Dior. IA: So, how and when will we start to see Jonathan's vision for Dior come to life? DA: Jonathan already started — he began working on men's in February. Even though we didn't announce it formally, my father mentioned it at the assemblée générale in April — that it had started back in February. Everyone's very excited, and there's a new energy in the men's teams. You can feel his vision. You know him too — he's someone with a very clear vision. He's passionate about Dior. I don't want to speak for him, but from his side, Dior was always close to his heart. When I spoke to him about what he might do after Loewe, Dior was the house he connected with most deeply. In many ways, he shares similarities with Monsieur Dior, who loved art — he was a gallerist. Jonathan is also passionate about art and has done many collaborations with artists throughout his career. He also loves gardening and flowers, like Monsieur Dior. And he's quite superstitious too — Monsieur Dior was as well. The day we signed the contract, Jonathan actually signed at 2:00 a.m. because he didn't like the date, so he waited for it to change to the next day. IA: Aha, he wanted a contract date that he thought was more auspicious! What about shows? DA: He's going to have many shows — it's a big rhythm. His first presentation of the women's vision will be the ready-to-wear show on October 1st in Paris. Then of course, there will be the haute couture show in January. But his first official show for Dior is only a few weeks away. It will be on June 27th, where he'll unveil his first men's collection — so that's also very exciting. One Designer, 'One Dior' IA: You mentioned the men's show, which is interesting because this is the first time at Dior that there will be a single designer doing men's and women's. It's always been two separate designers. This is the first time you're bringing it under one designer. It's a really big job. DA: It's the first time since Monsieur Dior himself, because he did a little menswear — ties, etcetera. So yes, it's the first time since Christian Dior. Of course, it's a big role, but for our maison, I believe it brings more consistency — in the product and in the communication. It's a good thing to have more coherence, and to have one designer, one vision for the house. It is a lot of work, I can see that. He will have many shows and a lot of collections to work on. But he has an amazing team. We truly have ateliers that are exceptional — the best in the world. He's going to work closely with them. IA: The 'One Dior' strategy is something that you've been working on for some time. Not only to achieve alignment between the men's and women's fashion collections, but also alignment with Dior beauty. Can you explain 'One Dior' and why it is important for you as CEO? DA: I think that the consumer doesn't know that there's a CEO of fashion and a CEO of beauty. For the consumer, Dior is one brand. Whether you see a makeup ad, a perfume ad, or a fashion ad — it's all Dior. So I think the 'One Dior' strategy is very important. That's also why we have Olivier [Bialobos], who's in charge of 'One Dior' and ensuring coherence across the communications. But if I go back to the fashion side of Dior, I think it's going to bring a lot of coherence — in the products, in the communications, in the windows. It's a lot of work. We still need to see what he's going to create, but I think he wants to bring more coherence across the collections. It's very interesting to see what he's drawn to, what interests him in the history of the brand, and to see how he'll bring those codes back into modernity. From what I've already seen on men's, it's very impressive what he's doing. Obviously, we have a lot of icons that he's really passionate about. He loves the Lady Dior [handbag], for example. He's been spending a lot of time in the archives — not just looking at what Christian Dior created, but also what all the other designers have contributed. It's not only about ready-to-wear or haute couture, but also shoes, with Roger Vivier. IA: Would you give him the opportunity to reinterpret some of these icons? When you say he's really interested in the Lady Dior, is there an opportunity for him to put his own twist on them? DA: Yes, as you know, we've always given our designers — our artistic directors — a lot of freedom in terms of creativity. It's really one of the key traits of LVMH: to give a lot of liberty and trust to our artistic directors. I'm excited to see what his full vision is going to be, because he only started a couple of months ago. I think the whole company is excited. And also the clients. Closing the Maria Grazia Chapter IA: I want to talk about clients in a minute, but before we do that — this moment clearly closes a chapter for Dior with Maria Grazia. And on reflection, it's been a pretty remarkable chapter. The business has grown substantially under her leadership. It was also the first time a woman designed for Dior. As a woman CEO, with the two of you leading the growth of this business, what do you think Maria Grazia's legacy is at Dior — and what did it mean to have a woman designing for this brand? DA: I really [want to] thank Maria Grazia so much. She impresses me every day. She's very strong, very passionate, and has such a clear vision. She developed the collections at Dior in a way that was truly remarkable, as you said. She put women at the centre of her work. For the first time, women had a voice, and also the women artists. I remember her first show. I was sitting next to Jennifer Lawrence and she already had the J'Adior shoes and the jeans and the t-shirt and the bar jacket that was with an easier fit. And you know, when you see things for the first time — because at the time I was working at Vuitton — it takes a minute, like hearing a song for the first time that you know you're going to love. And I remember thinking, 'Wow, this is so cool.' It was such a new way to present Dior. She continued to develop that with a very clear idea of what she wanted to do, empowering women, empowering women artists, empowering women photographers. She's really done so much for her house. She really has a vision. I really admire her and really loved working with her. She's super inspiring. IA: What changes now? Because once again, it's a man designing the women's collection. Maria Grazia had a real connection with women — and with a very strong, diverse female customer base. How do you make sure that connection is preserved? DA: Maria Grazia created a beautiful body of work and did so much for women. And Jonathan designs both womenswear and menswear. He also has many women in his team. As you know, when you have a studio, you have designers across all categories — bags, ready-to-wear, haute couture, shoes — and each category often has its own dedicated designers. It's a collective effort. There are also many women who inspire him. And yes, of course, it will be different — but I think that's what's interesting. And it's also my responsibility, as CEO, to know when it's time for change — and to make that change happen. IA: It took some time for all of this to be revealed ... the news had been circulating in the industry for a while — there was a lot of speculation that these changes were happening. Why did you decide to announce things in stages? Why did it take so long? DA: It's a good question. Well, we talked a lot with Maria Grazia, and we thought that it would be great for her last show to take place in Rome, her hometown. I think for her, it means a lot personally. She wanted it to be something joyful and so we agreed that we would announce that she decided to leave after her show in Rome — and not before. So out of respect for her, we decided to do that. That's why it took a little bit of time. What Luxury Customers Want IA: The luxury industry is experiencing a sharp downturn, as luxury customers' preferences are changing. From your perspective, how are they changing? What are luxury customers — particularly women — looking for now? DA: You know, in every industry, you have cycles. And it's in the tougher moments that big innovations or inventions happen. If you take the history of Christian Dior — the New Look was created in 1947, after the war. It was something totally new. So I think that, yes, big inventions often come during these cycles. As for the luxury customer — it's hard to generalise — but I think they're looking for authenticity. Quality is something that's extremely important: quality in the manufacturing, in the products. And also, having products that are iconic. We have a lot of iconic products, like the Bar jacket, the Lady Dior, just to name a few. So yes, everything moves in cycles, and I'm sure new things are going to be invented and created. IA: What is it that Jonathan offers for this critical moment when the industry needs innovation and creativity? DA: You know him very well. He's very in tune with his generation. He's very connected — especially with young people. He speaks to a wide audience. He's passionate about craft, about art — and he's proven that at Loewe. I think he's also going to surprise you, and everyone… and even me, maybe! I can't say too much about what he's going to do, but I think his vision, his passion for craft, and also for leather goods — is going to be something very exciting in the years to come. And you know, when you have a creative change, it always takes a little bit of time to really see the new vision, the new direction for a designer. As I was saying earlier with the first show of Maria Grazia — the T-shirt, the jeans, the Bar jacket — it takes a couple of seasons. You don't necessarily understand it immediately. But when you look back at all her collections, you start to understand it better. IA: One thing that's become a touchpoint for the industry is pricing. There's a lot of pushback from customers now. Brands like Dior have increased their prices a lot over the last few years. Have we reached a limit on that? DA: Yes, I agree with you. The pricing strategy is a big question. I think that prices can be increased if you have an increase in quality as well, an improvement in the product. So if you increase the quality of your product, you can increase the price. Now, there is also some inflation in the cost of materials. The production costs are higher every year. The leather costs more, as well as the metallic accessories. There's always inflation in different parts of the product. It's up to every house to decide what to do as a pricing. For us, I think, increasing pricing should be linked to an increase in quality. And recently we've had some new people come to Dior, to focus on this. We have [Deputy CEO] Pierre-Emmanuel Angeloglou, whom I worked with at Vuitton. He arrived at Dior on April 15. We also have a new industrial director Nicolas Carré who comes from Louis Vuitton, and chief industrial officer Giorgio Striano looking over all the activities. Of course, Jonathan is also going to bring a lot of newness with his creativity. It's hard to speak about his creations, I think he should speak about it, it's going to be better said that way. IA: Earlier, you said all industries have cycles. In your view, is the current issue cyclical, or is there also a structural issue in the way the luxury industry works that needs to be addressed? DA: I'm very optimistic about the future, and about this new direction and vision that Jonathan is bringing — especially in terms of connecting with customers. As I was saying earlier, it's all about the product — but stores are also extremely important. The service, the decoration of the stores — it's all part of the mix. We're opening a store in New York in July, on the corner of Madison and 57th. That's going to be a very big message for the American market. It will be a beautiful store, almost the size of the Avenue Montaigne store. We're also opening a store on Rodeo Drive in September — so this year, in terms of retail, is really the year of the American market for Dior. Having those stores — like Avenue Montaigne, and the new ones in New York and Rodeo Drive — is extremely important for the development of our maison. They give a full vision of the brand: the men's collection, the women's collection, perfume, jewellery, and even some restaurants. It's where you really understand the full Dior universe. And I think the attention to service, the way you're welcomed into the store — is going to be very, very important for us. You know, Dior still has very big potential. The name alone is magical. Jean Cocteau said: 'ce nom magique qui melange Dieu et or' IA: A mix of god and gold? DA: Yes, Dior is a magical name that is known all over the world. We've grown a lot, but there's still a lot more growth potential at Dior. This interview has been edited for length and clarity. Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders' documentation guaranteeing BoF's complete editorial independence.
Elle
4 days ago
- Automotive
- Elle
See the Artwork That Clinched This Year's Loewe Foundation Craft Prize
Craft has always been at the heart of the house of Loewe since its inception in 1848. In 2016, the brand introduced the Loewe Foundation Craft Prize, which represents its immense dedication to international craftsmanship, innovation, and design. Last night at the Thyssen-Bornemisza National Museum in Madrid, the finalists gathered for a presentation in front of Loewe's jury of experts, which consisted of past winners, critically acclaimed essayists, architectural designers, museum directors, and curators. The winner of the 2025 honors, and recipient of €50,000, is Kunimasa Aoki for his work 'Realm of Living Things.' Aoki was one of 30 shortlisted artists—chosen from over 4,600 submissions across 133 countries—to compete in the final round. Based in Kawaguchi, Japan, Aoki originally studied at the Department of Sculpture at Musashino Art University in Tokyo before completing a postgraduate degree in art and design. His winning piece is a stunningly intricate sculpture made entirely from his signature medium, terracotta. Inspired by the accumulative effects of nature over time, he manipulated impeccably minute layers of clay through stacking and molding, creating a multidimensional pillar that seems to take on an organic life of its own. The result, from both up close and afar, has a remarkably hypnotic effect. Special mention was given to artists Nifemi Marcus-Bello and Studio Sumaskhi Singh, who competed alongside Aoki. Marcus-Bello's piece, titled 'TM Bench with Bowl,' was inspired in part by his purchase of a secondhand car. Crafted from recycled sand-cast aluminum, the beautifully austere piece is a commentary on both contemporary African life and the waste inherent in modern design. The bench serves as a rebirth for the materials, offering people a space to gather and communicate. For Studio Sumaskhi Singh's final piece, the collective—composed of Birendranath Sarkar, Samarjeet Samarjeet, Bikas Barman, and led by Singh—presented a woven masterpiece titled 'Monument.' The work is a replication of a column from the Qutb Minar Complex of the Delhi Sultanate medieval empire. Copper thread was meticulously woven through a soluble fabric that, when dissolved, revealed the piece's immensely fragile structure. The exhibition at the Thyssen-Bornemisza National Museum is open to the public from May 30–June 29. Tickets are free of charge and available online at
Vogue
4 days ago
- Business
- Vogue
In Madrid, the Loewe Foundation Craft Prize Has a Homecoming—and Opens a New Chapter
Nine years ago in Madrid, Jonathan Anderson launched a project that would serve as the beating heart of his wildly influential 11-year tenure as creative director of Loewe: the Loewe Foundation Craft Prize. An annual exhibition and competition that spotlights makers and artisans from around the world, it quickly became a foundational tenet of Anderson's philosophy at Loewe. There is an emphasis both on the Spanish house's rich legacy of craftsmanship, and the Northern Irish designer's fascination with boldly warping those techniques into new and unexpected forms. This week, the prize ceremony returned to Madrid—without Anderson, following the announcement in March that Proenza Schouler founders Jack McCullough and Lazaro Hernandez would be taking the reins as creative directors of Loewe, but with as much energy and enthusiasm as ever. After all, part of Anderson's brilliance was that he built Loewe to be a 'cultural brand,' in his own words, creating an identity distinct enough that it can be transferred to a pair of new hands and reshaped into something fresh, without losing its essential DNA. 'The first time [we did the craft prize in Madrid], the world didn't know about the Loewe Foundation and didn't know what we wanted to support,' Sheila Loewe, president of the Loewe Foundation, said in an interview. 'Coming back, after all the places that we have been, it is like really a dream. Even when we're traveling around the world, we always have Spain in our hearts.'
Irish Times
25-04-2025
- Entertainment
- Irish Times
‘Forget about glamour': Jonathan Anderson offers advice to would-be fashion designers
Jonathan Anderson, the newly appointed creative director of Dior men's wear in Paris , made history on Friday when he became the first fashion designer to be made an Honorary Patron of Trinity College Dublin 's University Philosophical Society. At a packed ceremony, the Irish designer was presented with the Gold Medal by the society's treasurer Perin Winders, who outlined Anderson's career and achievements. The award is given by the 340-year-old society to individuals who have excelled in their given fields. In this case it acknowledged Anderson's contribution to the world of fashion as one of the most influential designers of his generation. Previous recipients of this award include film director Martin Scorsese, former US president Joe Biden, actors Al Pacino, Dame Helen Mirren and Whoopi Goldberg, Tim Cook of Apple and most recently comedian Stephen Colbert. READ MORE Jonathan Anderson in Trinity College Dublin on Friday. Photograph: Nick Bradshaw Anderson (41), from Magherafelt, Co Derry, who studied in Blackrock College, is the elder son of former Irish rugby captain Willie Anderson and his wife Heather, a teacher. Anderson said it was a huge honour to receive the award in Dublin, where he had come out as gay and where he first fell in love with fashion, 'having blagged my way into a job in Brown Thomas'. Dressed casually in a brown leather jacket and jeans, Anderson also described how he had applied to every fashion college he could find 'and every single one turned me down, one offer finally coming for a new men's wear course at the College of Fashion in London' which kick-started his career. 'I am a big believer in failure, and those I look up to are people who have failed and kept going,' he said. There is an incredible amount of work. I think you have to be able to get up every morning and learn something new every day and push yourself out there — Jonathan Anderson In a free-ranging question and answer session with Winters, issues such as collaboration, his work in film, the changing role of designers, social media and the fashion world in general generated thoughtful responses. 'Life and society have become faster and faster because of social media and we are exposed to so much now that everything is becoming a blur and anonymity is the biggest luxury today,' he said. 'Fashion's big questions – how we deal with the planet, with what we make, but we want to fix everything tomorrow. Government and business have to work together and long-term goals are important.' Perin Winders, treasurer of the University Philosophical Society, presents the Honorary Patronage to Jonathan Anderson. Photograph: Nick Bradshaw Anderson also spoke about his pride in having set up the Loewe Foundation Craft Prize during his 11-year tenure at the Spanish luxury brand, which he turned into a global superstar now worth nearly $3 billion. The award is an annual one recognising excellence among makers. Asked what advice he would have for young people interested in a fashion career, he was very clear about its demands. 'Forget about glamour, there is an incredible amount of work. I think you have to be able to get up every morning and learn something new every day and push yourself out there,' he said. [ Fashion at the Louvre: Spectacular exhibition sees modern masterworks meet art and history Opens in new window ] 'Even as a child I could never sit still and I always try to do a better job every time I get up in the morning. If you are good and believe in yourself, you can go anywhere, but (in fashion) you have to be a bit of a performer and you have to be quite ruthless and fight your way in.' His annual workload has involved 16 collections – eight for his namesake brand and eight for Loewe. His first men's wear show for Dior will be at the end of June; he is delving into the Dior's archives and wants to 'be able to explore a different language'. 'I like a challenge, and I come with more experience to the job,' he said. Anderson concluded his remarks by saying how proud he is to be Irish and highlighting the need for what he called 'more crossing of the aisles' in the current debate about unity. 'I am so proud of where I grew up. But growing up in the '90s was shocking in Northern Ireland and I have seen horrifying things. 'Today, however, it is like Disneyland with the Titanic Centre and everything else,' he said, to laughter and applause from the audience.
Yahoo
17-03-2025
- Entertainment
- Yahoo
All of Jonathan Anderson's Greatest Moments at Loewe
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." It's officially the end of an era. Early this morning, Jonathan Anderson announced that he is leaving his post as creative director of Loewe, a position which he's held for the past 11 years. Throughout his decade-plus tenure, Anderson has not only made Loewe one of the most profitable brands in the business, but also one of the most thrilling. The Northern Ireland-born designer reinvented the codes of the once-quiet Spanish luxury house and infused a sense of whimsy and unbridled creativity. To wit, the Loewe puzzle bag, a heel fashioned into a small balloon, and a dress with a giant needle poking through the front just to name a small few triumphs. He is a designer who challenges us to think about fashion in a different way, to wear clothes as a radical act of expressiveness. Not to mention, he's made fans of countless celebrities and collaborated on numerous film projects, helping to make Loewe a crucial part of the zeitgeist. He's also championed artisans with his founding of the Loewe Foundation Craft Prize, and teamed up with partners for charitable collaborations, proving that his dedication to art and community knows no bounds. Of course, we certainly count ourselves fans here at Harper's Bazaar, and ahead, our editors have rounded up their favorite moments from Anderson's Loewe years. From Rihanna's Super Bowl performance to the Challengers press tour and more, scroll ahead to see our personal hard to imagine a better celebrity ambassador for Jonathan Anderson's Loewe than the understatedly cool Taylor Russell. The actor matches the cheeky whimsy of Anderson's creations with her own infectious energy, and that soulmate pairing was never more apparent than when she made her Met Gala debut this year in a gown with a molded high-neck bodice—complete with a trompe l'oeil wooden pattern and a trailing white skirt that draped elegantly over her figure. – Chelsey Sanchez, EditorThe special magic of Jonathan Anderson's Loewe is that it feels otherworldly. It's transformative because it's fun. It makes you laugh like your favorite film as you tilt your head to try and understand if the patterns really are blurry or if the pants are really as impossibly high as you imagine. And so of course Anderson would lend his talents to a film's costume department to help bring fiction to life. His designs were perfect for Challengers because the film was as twisted and hot as his work. It was weird but alluring in the most perfect way. And who else can make a simple gray shirt that says 'I Told Ya' as instantly desirable as Anderson? - Tara Gonzalez, former Senior Fashion EditorAnderson's final collection for Loewe was, in many ways, a love letter to the purity of craft (also an incredibly memorable moment in his career of course). He is a creative director who has always led with ideas and with the handmade, rather than logos, trends, or formulaic marketing strategies. And it's too tough to pick just one thing, one show, one red carpet moment. Anderson loves fashion and design but above all else he loves the handmade, which is why he launched The Loewe Craft Prize in 2017. For a brand in revival-mode back then, it was a bold gesture to put focus and resources towards empowering independent makers around the world, mainly those that exist outside the realm of fashion. But that's just it: for Anderson, fashion isn't just about a garment, it's about the intention behind the thing and the human hand that made it. That's been the magic of his Loewe and will be the legacy he leaves behind. – Brooke Bobb, Fashion News DirectorJonathan celebrated his 10-year anniversary at the helm of Loewe with a stand-out collection. His spring 2025 collection featured a group of stunning floral chiffon gowns with circular crinolines that bounced as the models walked down the runway. One was more stunning than the next. He also paid tribute to how music reminded us of special times in our lives, with reimagined 'concert tees' for Mozart and Bach, which were made entirely out of feathers. It was a memorable collection, which was his last for the brand. – Nicole Fritton, Executive Fashion DirectorIs there a better, more organically fabulous pairing than Greta Lee and Jonathan Anderson's Loewe? I think not. Whether she's gracing the front row of a fashion show or commanding your eyes on the red carpet during awards season, Lee is one of a handful of celebrities who really made Anderson's work sing. The black and white draped gown she wore for the 2024 Oscars is a personal favorite, showing off the duo's joint malleability as designer and muse. – Bianca Betancourt, Culture EditorI thought it was impossible for Rihanna performing at the Super Bowl to be any more iconic than it already was…and then she showed up wearing custom Loewe and announced her pregnancy. It essentially brought a whole new meaning to the word iconic. – TGTo me, his interest in pushing the limits while embracing the traditions of craftsmanship is one thing that has always set his accessories apart. They were as beautiful as they were functional and always had an artistic flair and an almost childlike playfulness to them. The perfect example is when I saw the Puzzle bag for the first time at the Fall 2015 show. You knew you were seeing the birth of an icon. – Miguel Enamorado, Accessories DirectorIs it real or is it fake? Jonathan Anderson enjoys playing tricks on the mind and I love it. His infusion of surrealism and trompe l'oeil moments into his collections at Loewe over the years has made his shows a fan favorite among the industry. For his Spring/Summer 2023 collection, I especially loved his incorporation of the Anthurium flower taking center stage in the form of fantastical tops and dresses. It injected a vibrant electricity of color throughout that was refreshing and delightful. It was a feast for the eyes. – Julie Tong, Senior Commerce Content LeadThere's no other word to describe the appearance of Dame Maggie Smith in Loewe's Spring 2024 campaign than iconic. Not only did the photos personify beauty at every age (she was 88 at the time), but also Anderson's prolific vision for the future of Loewe. – Tiffany Dodson Davis, Beauty Commerce EditorThere was something magical about what Jonathan did every season when it came to accessories. Before the Barbie movie press tour lore, there were the doll shoes in his Spring 2023 collection. They were a testament to his effortless way of making something so classic feel playful. — Jaclyn Alexandra Cohen, Senior Fashion & Accessories EditorEach one of Jonathan Anderson's presentations for Loewe feels like such a triumph that it's hard to pick a favorite—but for me, the Fall 2024 ready-to-wear show really stands above the rest. Ever since this collection came out, I'm convinced I didn't understand the meaning of beading before its unveiling. Maybe I didn't even know what beads were. Not only was his use of the material so beautiful and vibrant, but it was a celebration of timeless craftsmanship. From the hand-sewn details to the dynamic silhouettes and the flora and fauna decorating many pieces, the collection felt so alive. One of Anderson's biggest contributions to the fashion world is his ability to craft pieces that feel accessible but make you question everything you know about fashion. With this show, he did just that and more. I'll be pining for one of those beaded asparagus bags for the rest of my life. – Joel Calfee, Assistant EditorWhen Beyonce went on tour, she wore not one but two custom Loewe looks. Both were covered in all-over high-shine crystals; one in silver with a matching curved breastplate and another with surrealist trompe l'oeil hand motifs grabbing around the body. Anderson was inspired by the 'escapist joy' of her Renaissance album and created two stand-out concert outfit moments fit for Beyonce and Beyonce only. It's not often that runway-inspired pieces work on stage, but Anderson's Loewe felt perfectly made for her special high-glam universe. –TG You Might Also Like 4 Investment-Worthy Skincare Finds From Sephora The 17 Best Retinol Creams Worth Adding to Your Skin Care Routine
