At Loewe, serious conspiracy and great clothes

One of the most enjoyable shows in Paris was not the show. Is that – what? Exhibition? Career retrospective? An opportunity to recommend gossip along with some croissants?

Officially, Roueu, a 2025 boys and girls' clothing presentation held in the glamorous hall of Pozzo diborgo in the 18th century, is Karl Lagerfeld's Hotel Party Cree Residence, which has since his death has become one of his fashion favourite venues. (Perhaps hoping that some of that Lagerfeldian mysticism remains in the hall.)

Unofficially, it was probably the last chance to see the heart-born version of designer Jonathan Anderson.

LVMH, who owns both homes, has defied comment. The Loewe employee of the presentation smiled shyly and offered to talk about the collection. Anderson recently posted on Instagram what seemed like an edit of his biggest hit of the decade (look, Daniel Craig is in the strange wool jumper! He reportedly checked the setup and left the building.

it doesn't matter. You could see him in your clothes. Everyone at the entrance was welcomed by the giant pumpkins of British artist Anthia Hamilton, who appeared on the 2022 show. And even Jamie Dornan, one of the House ambassadors, was walking around the room, thinking about what a huge leather boot would look like, perhaps a pair of waders from the closet of three musketeers.

If this was actually the last collection, it was something to convey.

The house called it a “scrapbook” of ideas, but it reminded me of all the elements that made Anderson's Loue one of the most exciting brands in the world of post-covid fashion. It is impossible to predict where things will go next. A feeling that wearing something like this would make you feel like the most unexpected and interesting person in any room. Also, there was always a great coat.

For example, one still life style wears a dress made of loops and loops of coral, evergreen, and azure beaded organza clustered like a group of Simons at a cocktail party. The strapless flock on the top, made entirely of what looked like rainbow bubbles, was hung from the window frame. Another frame included many of the huge boots paired with leather pea coats, as if an invisible woman had been caught up in Minne France. Some nymph-like draped jersey gowns were placed in front of a giant green apple. Attractive!

There was a cabinet of curiosity – sorry, but there were shoes that included Mary Jane, covered in tiny crystals, and ballet flats, knitted like a cable sweater. More jackets and trench coats made of wide leather hanging from the Epoulet at Bruson West are in case someone forgets that they were born as a Spanish leather home.

And because it is a collaboration with the Josef & Anni Albers Foundation, the artist's work of Bauhaus influenced the nubby coat of pixelated patterns derived from Albers' painting series “omage to the Square.” Just because this was Mr Anderson, he paid tribute to the circle's homage. Anyway, there was also a handbag with a square recreation in Caviar Beading to make the connection clear.

It appears to be past a first-floor replica of Anderson's Flower Figure Jewelry Charm and slipping down the banister. There was a wear room for men set up like a consciousness-raising session.

The clothes were so intrigued that it seemed sad that they couldn't see them coming back to life on the runway. At the same time, without the magic of the show, there was no hair, no makeup, no struts – they still looked magnetically original. If they can do it for the mannequin, imagine what they can do for you.