Loewe

Loewe became the official off-pitch formalwear and travelwear partner of Spain’s men’s and women’s national teams under a four-year agreement running through the 2030 World Cup. McCollough and Hernandez’s wardrobe placed an electric-blue polo beneath a three-button suit with a concealed Anagram detail.

Jongjin Park, representing South Korea, received the 2026 Loewe Foundation Craft Prize for Strata of Illusion, a work in layered paper coated in coloured porcelain slip. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

Talia Chetrit photographed the duo’s first comprehensive Loewe campaign through harsh daylight, humid night and a recurring impression of wet skin and hair. The images made the body’s contact with heat-sealed leather central to the new visual language.

Loewe marked 180 years from the 1846 Madrid workshop with an anniversary capsule and campaign photographed by Talia Chetrit. The programme used the house’s dual foundation narrative while returning attention to leather craft and the Anagram.

Talia Chetrit photographed Eva Victor, Levon Hawke and Seydou Sarr against Tenerife’s volcanic terrain. Expansive landscapes and abrupt close-ups placed lived-in leather and sportswear against basalt, surf and the ordinary equipment of tourism.

The 2026 edition continued Paula’s Ibiza through basketry, crochet, draped clothing and the Featherlight Puzzle. Press coverage associated the line with McCollough and Hernandez, while the available official materials did not state its studio authorship.

Puzzle 10 marked a decade of the bag with nineteen archival re-editions and one new Confetti design. Anime, Cloud, Cowboy, Pixel and other past treatments were returned to production, making product genealogy itself the subject of the release.

Loewe appointed Jack McCollough and Lazaro Hernandez as joint creative directors on 24 March 2025, effective 7 April. The co-equal remit covers womenswear, menswear, leather goods, accessories and global brand image.

Crafted World travelled from Shanghai to Harajuku for a Tokyo edition running from 28 March to 11 May 2025. The exhibition retained the OMA-designed retrospective framework while placing Loewe’s archive, collections and craft collaborations in a new city context.

Loewe announced Jonathan Anderson’s departure on 17 March 2025 after the Fall/Winter 2025 presentation. His exit closed an eleven-year tenure before his move to unified artistic direction at Dior.

Kunimasa Aoki, representing Japan, received the 2025 Loewe Foundation Craft Prize for Realm of Living Things 19, a work in compressed and heavily fired terracotta. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

Loewe’s first public house exhibition opened in Shanghai in a 1,600-square-metre environment designed with OMA. Archive objects, sixty-nine runway looks, craft installations and the Studio Ghibli projects presented the Anderson era inside a house-authored history.

Andrés Anza, representing Mexico, received the 2024 Loewe Foundation Craft Prize for I only know what I have seen, a work in spiked amorphous ceramic sculpture. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

A second Suna Fujita collection returned the Kyoto studio’s miniature animals and storybook scenes to Loewe product. The recurrence established the project as more than a one-season decorative licence.

Eriko Inazaki, representing Japan, received the 2023 Loewe Foundation Craft Prize for Metanoia, a work in intricate ceramic construction. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

Loewe began a seasonal collaboration with the Kyoto ceramic studio Suna Fujita, placing its hand-drawn animals and miniature worlds across bags, clothing and accessories. The imagery retained the artists’ narrative scale within the house’s product system.

The third and final Studio Ghibli capsule rendered Calcifer and the moving castle through leather, patchwork and textile construction. Inflatable castle installations in Paris and London and Calcifer’s Kitchen at Selfridges extended the launch into urban spectacle.

The first Loewe × On capsule combined On’s performance footwear technology with Loewe colour, material and apparel direction. It began a recurring partnership that later expanded through Cloudtilt and further technical footwear systems.

Dahye Jeong, representing South Korea, received the 2022 Loewe Foundation Craft Prize for A Time of Sincerity, a work in woven horsehair using a historic hat-making technique. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

The second Studio Ghibli capsule used visible mending, embroidery, patchwork and jacquard to render the characters and spaces of Spirited Away. The techniques gave the commercial collection a material density beyond printed licensing.

Fanglu Lin, representing China, received the 2021 Loewe Foundation Craft Prize for She, a work in textile formed through tie-dye methodology. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

LVMH acquired Marcolin’s remaining stake in Thélios in December 2021, making the eyewear subsidiary wholly owned. Loewe’s optical and sunglasses category thereby moved from a long De Rigo licence into an in-group design, manufacturing and distribution system.

The first Studio Ghibli capsule rendered characters and landscapes from My Neighbour Totoro through leather marquetry, intarsia and embroidery across Puzzle, Hammock and ready-to-wear forms. The project joined collectible popular culture to demonstrable atelier technique.

Loewe launched Home Scents and reorganised its fragrance presentation through the Botanical Rainbow system in 2020. Botanical-garden scents, colour-blocked bottles and handmade ceramic vessels joined Anderson’s object direction to specialist perfumery.

Genta Ishizuka, representing Japan, received the 2019 Loewe Foundation Craft Prize for Surface Tactility #11, a work in urushi lacquer over sculpted forms. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

Ceramicist William De Morgan’s fantastical animals and dense decorative surfaces were carried into Loewe clothing and leather goods. The capsule extended Anderson’s archive-based collaboration model into the Arts and Crafts movement’s ceramic imagery.

Jennifer Lee, representing United Kingdom, received the 2018 Loewe Foundation Craft Prize for Pale, Shadowed Speckled Traces…, a work in stoneware with natural oxides. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

The Charles Rennie Mackintosh capsule continued Loewe’s use of historic design archives, translating the architect and designer’s linear motifs into clothing, bags and accessories without treating the source material as anonymous house ornament.

Núria Cruelles joined Loewe Perfumes in 2018 and assumed leadership of fragrance creation in 2019. Her continuing remit covers perfumery within a product structure distinct from fashion collection direction.

Ernst Gamperl, representing Germany, received the 2017 Loewe Foundation Craft Prize for Tree of Life, a work in turned oak treated with iron oxides. The award forms part of Fundación Loewe’s annual international craft programme and remains separate from the commercial house’s seasonal collections.

Loewe translated William Morris motifs into a seasonal capsule across ready-to-wear and accessories. The project established a repeatable Anderson-era format in which decorative-art archives entered contemporary product through print, textile and leather technique.

The first Loewe Paula’s Ibiza collection revived prints and atmosphere from Armin Heinemann and Stuart Rudnick’s 1972 boutique archive. Clothing, leather goods and woven baskets established an annual co-branded summer programme, not a permanent Loewe division.

Fundación Loewe launched the Craft Prize in 2016, with a €50,000 award and annual finalist exhibition administered through expert and jury panels. The programme belongs to the independent foundation, with Loewe S.A. participating as a collaborator under a separate legal identity.

001 was the first Loewe fragrance launched under Jonathan Anderson’s creative direction. Fragrance formulation and bottle or campaign design remained separately authored within that house-level context.

Casa Loewe Madrid established a collector-home retail model in 2016, combining fashion with ceramics, furniture, flowers and modern art. The concept turned the flagship into a gallery-like domestic environment and provided a template for later international stores.

Loewe’s official projects archive identifies hand-moulded leather bowls shown in 2015 as its first Salone del Mobile project. The presentation began a recurring design and craft programme and preceded the house’s first furniture installation in 2016.

The Puzzle moved from an early duffle in the June 2014 menswear presentation into commercial release in 2015. Its sliced leather panels created a cuboid bag that could fold flat and be carried in several ways, establishing the central leather-goods geometry of Anderson’s tenure.

Loewe revealed a new identity made with M/M (Paris) on 4 June 2014. The system redrew Vicente Vela’s Anagram, introduced a wordmark based on Berthold Wolpe’s Pegasus typeface and established smoke-grey Humo packaging.

The collaboration cut Spanish napa leather together with Japanese denim, tartan and polka dots across clothing and Amazona bags. Presented at the Spanish Embassy in Tokyo, it marked four centuries of Hispano-Japanese relations through a direct material exchange.

Penélope and Mónica Cruz worked with Stuart Vevers on a more casual Amazona with exterior pockets, shoulder straps and polka-dot details. Released after Vevers’s departure announcement, the November release demonstrates the extended delivery cycle of his final collaborations.

Jonathan Anderson was appointed creative director in September 2013 as LVMH also invested in JW Anderson. He rebuilt Loewe across collections, leather goods, identity, retail and cultural programming before his departure was announced on 17 March 2025.

Tales of Spain transferred Manton de Manila, Mariposas Españolas and Barroco motifs from Loewe’s silk archive onto ultra-soft napa. The technical problem was to print complex colour without sacrificing the leather’s handle, producing bags, pouches, sweatshirts and small accessories.

Luis Venegas directed a deliberately naïve video around a young Madrid cast and neon-accented Loewe bags. Released during Spain’s economic crisis, the campaign drew intense criticism and parody while breaking the house’s image out of its conservative domestic register.

Mert Alas and Marcus Piggott photographed Mariacarla Boscono and Andrés Velencoso at the Hotel Ritz Madrid, with styling by Katie Grand. The campaign used the memory of Ava Gardner and Ernest Hemingway in Spain to give Vevers-era leather goods a cinematic setting.

Stuart Vevers revived the archive-derived Flamenco in 2010 with adjusted proportions and oversized tasselled drawstrings. Accounts of the original launch vary between the 1970s and 1984; the 2010 revival has a clear Vevers-era attribution.

Loewe opened Peter Marino’s new flagship concept in Valencia in 2010 and extended it to Mount Street in London in 2011. Bronze, stone, metal mesh and Oro suede gave the Vevers-era product system a consistent architectural setting.

Stuart Vevers began as creative director in January 2008 after his appointment was announced the previous July. His remit consolidated ready-to-wear, leather goods, retail and image, and his tenure ended with the announced move to Coach on 25 June 2013.

Loewe marked the 160th anniversary of its 1846 workshop origin with a Madrid event and commemorative leather-goods capsule. Logo-printed canvas, contrasting suede and calf leather appeared across practical bag forms with anniversary markings.

LVMH appointed José Enrique Oña Selfa artistic director for women’s ready-to-wear on 14 May 2001. He introduced a severe, leather-intensive interpretation of tailoring and remained through the Spring/Summer 2008 finale in October 2007.

Loewe appointed Narciso Rodriguez design director for women’s ready-to-wear in June 1997 as LVMH sought international runway visibility. His remit did not encompass automatic authorship of menswear, fragrance or every leather-goods line, and the Spring/Summer 2002 transition remains unclear.

LVMH acquired the remaining shares of Loewe in 1996, completing a relationship that had begun with international distribution. The purchase integrated the house into the group’s Fashion and Leather Goods division and set up a modern creative-director structure.

PERFUMES LOEWE S.A. was incorporated as a distinct legal entity on 7 November 1989. Its separate corporate structure reinforces the need to distinguish fragrance authorship and management from the fashion studio.

Loewe entered an international distribution structure dominated by Louis Vuitton in 1986, giving the French partner control over rapid overseas expansion. The agreement preceded LVMH’s staged purchase of the parent company and full ownership in 1996.

The Spanish state awarded Loewe to the Urvois–Spinola consortium in 1984, favouring a bid structured around majority Spanish ownership over a financially stronger British offer. The reprivatisation opened the route to French distribution capital.

The Spanish government expropriated the indebted Rumasa group by royal decree on 23 February 1983, placing Loewe under state control. The intervention made the luxury house part of a wider national financial rescue.

Loewe dates the launch of men’s ready-to-wear to 1983. The structural expansion is documented at year level, while its first season, designer credit and presentation details remain unidentified.

Rumasa acquired a majority holding in Loewe from the family shareholders in 1980. The transaction ended independent family control and placed the house inside a heavily leveraged Spanish conglomerate.

The Amazona entered Loewe’s leather-goods record in 1975 as a soft, functional bag aligned with the changing public life of Spanish women. The year is secure, while the repeatedly circulated Dario Rossi designer attribution remains undocumented in reliable contemporary material.

Loewe entered fragrance in 1972 with its first women’s scent, later identified as L de Loewe. The launch established a product programme whose perfumery, packaging and fashion-direction credits require separate attribution.

Vicente Vela created the mirrored four-L Anagram in 1970. Inspired by the functional geometry of branding irons, the mark gave Loewe a repeatable identity that could be stamped into leather or extended across canvas, packaging and stores.

Fourth-generation family member Enrique Loewe Lynch joined the company’s executive leadership in 1965. He directed expansion into international retail, ready-to-wear and fragrance before the completed LVMH acquisition moved him into an honorary and foundation-focused role.

Loewe opened a boutique in the London Hilton on Park Lane in 1963, designed by Javier Carvajal. Later Jermyn Street and Old Bond Street stores turned the initial hospitality outpost into a sustained international retail presence.

Loewe dates the introduction of women’s ready-to-wear to 1960. The year marks a structural expansion beyond leather goods, although its season, designer credit and presentation details remain undocumented.

Architect Javier Carvajal began a new retail language with Loewe’s Calle Serrano store in 1959 and later London locations. Spare interiors, strong lighting and negative space reframed leather goods as singular design objects.

Vicente Vela joined Loewe as head designer in 1958 and provided a durable internal visual authority during the house’s modernisation. His 1970 four-L Anagram became the central graphic sign across leather goods, packaging and retail.

LOEWE S.A. was incorporated in the Mercantile Registry of Madrid on 24 June 1950. The legal filing provides a distinct corporate date alongside the house’s 1846 workshop origin and 1872 commercial naming.

José Pérez de Rozas assumed primary creative responsibility for Loewe’s window displays and leather goods in the post-war period. His theatrical retail images and structured boxcalf handbags shaped the house through 1978, without extending to ready-to-wear authorship.

Loewe opened a major flagship at Gran Vía 8 after the Spanish Civil War. Francisco Ferrer Bartolomé’s store became the setting for the house’s post-war retail, archive and visual renewal.

Enrique Loewe Knappe assumed leadership in 1934 and co-managed the family business with his brother Germán. His tenure crossed civil-war collectivisation, post-war reconstruction and the architectural modernisation that preceded the fourth generation and the end of family control in 1980.

King Alfonso XIII granted Enrique Jorge Loewe Hinton the title of Purveyor to the Royal Court. The warrant gave Loewe a visible national endorsement and preceded the house’s expansion in Madrid and Barcelona.

Second-generation executive Enrique Jorge Loewe Hinton led the family business through royal endorsement and domestic expansion. His period includes the 1905 Royal Warrant and new stores in Barcelona and Madrid before his death in 1934.

E. Loewe moved to a dedicated store and workshop at 39 Calle del Príncipe in 1892. The public retail address consolidated the transition from a multi-partner workshop into a recognisable Madrid luxury business.

Enrique Loewe Roessberg acquired and reorganised the existing Madrid workshop in 1872, giving the commercial enterprise the Loewe name. This namesake foundation followed the unidentified artisan collective established in 1846.

A collective of Spanish leather artisans opened a workshop on Calle del Lobo in Madrid. Loewe uses this workshop as its heritage origin, but the accessible house history does not preserve the artisans’ names, and Enrique Loewe Roessberg arrived in 1872.