Jonathan Anderson

Dior added women’s ready-to-wear and haute couture to Jonathan Anderson’s existing menswear role on 2 June 2025. The mandate ended the separate women’s and men’s leadership structure while leaving jewellery and fragrance outside his remit.

Dior appointed Jonathan Anderson artistic director of menswear on 17 April 2025. The appointment became the first stage of a broader reorganisation when women’s ready-to-wear and haute couture were added to his remit in June.

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.

In 2025, J.W. Anderson began a broader lifestyle-led reboot, shifting emphasis from runway-only fashion toward objects, homeware, craft and curated retail. The change repositioned the brand as a wider design-world project while retaining Jonathan Anderson’s interest in material culture and off-centre Britishness.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

Jonathan Anderson established J.W. Anderson in 2008, developing an accessories and menswear-led language that soon entered the London Fashion Week ecosystem. The brand became known for treating gender, objects and familiar garments as unstable design material.