“My obligation is to promote people,” Anderson says. “Ultimately prizes are incredibly difficult to manage, but there is such dedication within the company to make it work and to be able to help support artists and support craftspeople. Loewe has sponsored so many shows of contemporary craft and we have acquired huge amounts of work for the Loewe Foundation, which we put on display in our stores. We are doing things that I think give back ultimately.”
Making art and artistry more available via the ivory walls of a luxury goods store might not seem like the most egalitarian concept, but when museums can cost upwards of $20 per person and arts education remains woefully underfunded, the ability to have a one-on-one experience with this kind of work might just have to start coming from unexpected places. And while Anderson remains steadfast in the importance of face-to-canvas communion with artworks—his first post-lockdown outing was to see the Rembrandts in London’s National Gallery—he’s committed to making sure that the online experience can be almost as satisfying.
“That’s why we’re launching The Room”—Loewe’s new gallery website—“which is going to be an online platform where we will showcase the worlds of everyone who has been shortlisted on the Craft Prize. You will be able to click on their profile and see which works are available with the gallery, and you can be connected straight to them,” he says. “A prize cannot just be a prize and then we move on. It is about the support mechanism.” This year’s 30 finalists will also be featured in a virtual 3D representation, courtesy of Paris’s Musée des Arts Decoratifs, the closest to a global in-person gallery show it gets.
“I started out with this utopian vision to build a cultural brand, the idea that traditional luxury was dead,” he says as he begins to outline his ideas for Loewe’s next five years. “Because if I don’t [give back] then I feel selfish in the act of being creative director—it’s just me and I find it’s boring if it’s just me. It’s just a one-sided conversation with myself and my own ego. Young people don’t want the egos anymore… I’m kind of over the elusive designer, I’m over the elusive artist. Younger people want to be personally involved with things, and we cannot underestimate that.”
His estimation of a younger generation—he’s just 36, by the way—takes in not just fashion, but also politics, social justice, art, and culture, rectifying the injustices of the past. Can he affect positive change from the helm of luxury brand owned by a mega-conglomerate? It’s not a bad vantage point. “I think things are changing, but it’ll not happen overnight. Change is a very slow process unless we want revolution and that can be quite quick, but we don’t like taking our hands off the wheel,” he says. “I do think the fashion landscape has already changed, we just don’t know what it’s going to look like, but I think the key players may not be the key players all the time. I think the generational shift has already happened, this [year] just sped it up.”
So we should expect an exciting set of spring 2022 men’s and womenswear shows? “Let’s see what happens,” he says gently. “Let’s see who’s thinking, who’s working.” You can count on Anderson for that.
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May 25, 2021 at 03:30PM
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Jonathan Anderson Announces the Loewe Craft Prize Winners and Charts a Course for a New Fashion Future - Vogue.com
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