Jonathan Anderson’s spring men’s show for Loewe was all about restraint, a feeling you picked up the minute you arrived at the vast, seemingly empty show space, security guards encircling tiny black metal sculptures of mice on the floor, and a copy of Susan Sontag’s “Against Interpretation” splayed on the hardwood.
Long pheasant feathers, often painted gold, were tacked to headbands so they bifurcated or obscured the faces of Anderson’s young models, many of them shirtless and wearing only billowing, draped pants with the leather jacron positioned on the front. Their cap-toed dress shoes seemed a tad too long. He said his starting point was a 1981 black-and-white photo of a woman’s pump by Peter Hujar, which served as the show invitation, with the original image displayed on an easel propped on the runway.
There were blurred nods to English schoolboys and military dress in the Oxford bag trousers and the roomy khaki coats with folded lapels you button through.
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