LOEWE SS25 WOMEN’S RUNWAY COLLECTION

What happens when one takes all the noise away? Is it possible to fill an empty white room, commanding attention, without shouting for space? This collection answers such questions through radical reduction. Stripping everything away, the silhouette remains: bending, bouncing, flowing in curves, long or crudely cropped, moving sideways and away from the body, like falling in and out of a dream. Tailoring is reduced to a curvaceous flow, draping moves in circles. All of a sudden the strict grandness of looping dresses and skirts is interspersed with the everydayness of a T-shirt paired with slim trousers. Nothing is as it is, though. The invitation to second guess is constant.

The focus on line brings attention to the meticulous engineering of construction, with boning and wiring that allow shapes to expand and protrude. The rigour of the outline brings prominence to surfaces: impressionist flowers on delicate silks; feathers that are printed with paintings of famous artists or that reproduce camouflage patterns; mother of pearl shells; all-over sequins on knits; soft nappa leathers.

The graphic grace of the silhouettes is grounded in boat shoes, elongated oxfords, and the high-top Ballet Runners. A light and supple trapezoid-shaped bag named after LOEWE’s home city is introduced: the Madrid. The SS25 Puzzle comes in feather light and squishy leather.

Zooming in and zooming out of a suspended headspace, the journey ends with a feathered white Johann Sebastian Bach T-shirt, redolent of rock-concert memorabilia, whose sheet music is printed on the outside walls of the showspace. Taking away all the noise, melody and rhythm remain.

Note on the showspace

A single sculpture by British artist Tracey Emin quietly commands the space. The only place you came to me was in my sleep (2017) is at once monumental and movingly delicate: a small bird, cast in bronze, perches on top of a towering post. Known for her deeply personal and often autobiographical work in which she uses her life as a lens through which to explore themes of love, loss, memory and healing, Emin relies on the depiction of birds as symbols of both vulnerability and resilience. Caught in a moment of pause, she encourages us to imagine the bird’s imminent flight, and ultimately its freedom.

Tracey Emin was born in 1963 in London and currently lives and works between Margate, London and the South of France. Among her many significant exhibitions she represented Great Britain at the 52nd Venice Biennale and in 1999 she was nominated for the Turner Prize for her installation My Bed (1998). In 2011, Emin was appointed Professor of Drawing at the Royal Academy of Arts, London. In 2012, she was made Commander of the Most

Excellent Order of the British Empire for her contributions to the visual arts and in 2024 she was awarded a Damehood in the King’s Birthday Honours for her services to art.