Isik’s analogue satisfaction came, he said, in cutting and shaping couture-referencing shapes that saw their criss-cross, shoulder-wrapping tailoring silhouette updated and then redeployed as an off-the-shoulder neckline. This was applied with magisterial subversiveness on a black dress/coat in jersey, quilted satin, and a queenly faux-fur in tabby cat tones. Maybe it was that theme, but the silhouette and facade of piratic pointed boots under fitted pants and stretched patterned tops or checked shirting variously recalled Westworld and Black Mirror’s “USS Callister.” Pleather boy looks were sometimes Matrix moody, while a treated-canvas python-print full look (down to the matching boots that were part of the brand’s debut all-vegan footwear range) seemed its own fresh reference.
According to Serhat Isik and Benjamin Huseby’s notes, the title of this GmbH collection “Welt am Draht (World on a Wire)” was taken from a 1970s Rainer Werner Fassbinder sci-fi TV series that suggested, “Our world exists entirely inside another world, perhaps as a computer simulation.” Once online for a Zoom, that begged the question: Did the designers share that unsettling suspicion? At that exact moment the connection glitched and GmbH vanished.Once contact was restored, Huseby said, “The idea felt very apt at a time when we are always on these Zoom calls and living through our screens. We wanted to go in an opposite direction and strive for real connection and work with real materials…because even as we live in this digital world we crave the analogue.”“You know,” said Huseby, “sometimes you haven’t left your house for two days and then you step out and go, ‘Oh! This is the real world!’ It’s about sanity at the end of the day.” Here GmbH were simulating looks they could envision being worn and reveled in once our return to physical contact is established. The result was really convincing.
In 1971, Brainard wrote: “Art to me is like walking down the street with someone and saying, ‘Don’t you love that building?’ (Too)” According to Frieze magazine, this approach facilitated “an aesthetics of immediacy, unembarrassed introspection, whimsy and exploration.” These sentiments are apt for Anderson’s approach at Loewe, the creative director hungering to explore, respond to the moment, place his clothes in dialogue with the world around them and then invite everyone else along for the ride.“Loewe is a kind of discovery brand. I like the unknown character. I like those people who sometimes get lost in history,” Anderson explains. Brainard’s artistic juxtapositions also map surprisingly well on to his increasingly expansive vision of Loewe’s cultural role.“This is a kind of collage […] you have Eye/Loewe/Nature, some parts of the year you have Paula’s Ibiza, you have womenswear, you have the foundation, you have the craft prize, you can mix all this. I feel like it shows the richness of this very historical brand, and how much care and time goes into making it.”
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