Jonathan Anderson’s latest collection constructed wearable sculptures, drawing from the office uniform and the artwork of Lynda Benglis

For Jonathan Anderson, normality is the first step towards world-building—of the fantastic variety. With Loewe, the creative director leverages the mundane as the foundation for wearable sculpture, an aesthetic vehicle for the extraordinary.

For Spring/Summer 2024, Anderson placed his “wardrobe in perspective: tall and vertical, for a stringent proposal of daywear.” The pragmatism of dressing “appropriately” became subversive through plays on proportion. For example, the traditional office uniform of well-tailored trousers and a crisp oxford shirt transformed into a leggy pantsuit, with the waistline extending to the underbust, a tiny, fitted collared shirt lodged underneath.

This play on the corporate silhouette carried across the collection: earth-toned suede trench coats’ tails flipped up, tucked into single-strap bucket bags. Upon a closer look, t-shirts and khaki culottes revealed themselves to be cut from leather. Knitwear was turned on its head in a similarly tongue-in-cheek manner: Paper-bag shorts were fastened with massive needles as belts, paired with thick, armless knit capes that nearly grazed the floor, and chunky cropped sweaters.

Loewe continued its collaboration with American sculptor Lynda Benglis, whose bronze works Elephant and Necklace were featured both as large-scale installations accenting the runway, and as jewelry pieces gleaming on wrists, ears, and breastplates. Like Bengalis’s practice, Anderson’s Loewe is not merely positioned, but postured; garments can shrug and slouch on their own, without a body inside of them. This renders the impact of the collection all the more powerful: wearable sculpture, for the everyday.