A New Era Begins at Loewe—and the Future Looks Promising

A New Era Begins at Loewe—and the Future Looks Promising

      Ten days prior to Jack McCollough and Lazaro Hernandez unveiling their inaugural collection as co–creative directors at Loewe (a position previously held by Jonathan Anderson for 11 years before he became creative director at Dior), they shared a teaser designed to establish "a new dialogue" for the Spanish fashion brand. "The campaign begins to set a tone, a spirit, and the initial intent," the duo behind Proenza Schouler noted in the teaser's announcement. "It embodies a vibrancy and tactility grounded in craft that feels essential to the house, a brightness and sensuality rooted in its Spanish heritage, and ultimately an optimism and spirit that we recognize as deeply personal to us." Captured by photographer Talia Chetrit, the imagery presented colors reminiscent of the designers' work at Proenza Schouler yet perfectly suited for Loewe, setting the stage for an exhilarating new chapter: "Something hopeful and unfolding." Now that we've witnessed their debut collection, which was showcased on Friday in front of an audience that included Solange Knowles, Emma Chamberlain, Sarah Paulson, and Tracee Ellis Ross, among others, it is clear that everything portrayed in the teaser was accurate. A new era has indeed begun for Loewe, yet the brand retains the playful, craft-oriented spirit it had under Anderson's guidance, validating LVMH's decision to hire Hernandez and McCollough. This new interpretation brings an additional level of wearability and sleekness that has always been characteristic of Proenza Schouler. It captures a blend of downtown New York and Madrid, and the combination is truly delightful. Read more about the spring 2026 collection below.

      From Proenza Schouler to Loewe

      There was never any doubt that Hernandez and McCollough would create stunning clothing for Loewe, but transitions in fashion can often be unpredictable until the initial show takes place. Their debut today dispelled any lingering concerns. There will be no slow transition. In the case of the founders of Proenza Schouler moving to Loewe, everything seems to flow seamlessly, merging the beloved elements of their past with their present codes, contributing to the excitement of the spring 2026 collection. According to StyleNotCom, nearly all attendees at the show were smiling, including Anna Wintour and Delphine Arnault. Julie Gilhart, who ordered Hernandez and McCollough's first Proenza Schouler collection back in 2002, described it as a "Perfect 10—a show that ticked all the necessary boxes" on Instagram. "The vibrant standing ovation was genuine," she added.

      The New Prep

      The prep trend was evident at Loewe, a brand that has subtly showcased elements of preppiness over the years. This season, logo-adorned V-neck sweaters in pastel hues were layered over loosely buttoned collared shirts, paired with loafers, evoking an after-school vibe. Sporty coaches' jackets were styled over layered button-downs and turtlenecks, while knitwear hung over the shoulders of models wearing dress shoes and textured denim. This is not classic prep by any means, but a reimagined version. The choice to skip pants while layering three striped Oxford shirts creates a look that defies traditional Ivy League styling, despite the inherent preppiness of the actual pieces on display.

      The New Amazona

      And just like that, one of the standout bags for spring 2026 has been introduced, and it is definitely worth the wait. The bag in question is a modern interpretation of Loewe's iconic Amazona. It features a rectangular shape with a zip-around top and generous interior space. The highlight? The handles, or rather, handle (singular). Unlike most bags of this style that have handles on both sides, Loewe's new design includes only one handle, imparting an "off" appearance that is distinct enough to generate excitement and encourage purchases. As stated in a press release, it will be named the Amazona 180 and is intended to embody the collection's overall laid-back approach.

      Chic Women in Loewe

      Chic women embody the Loewe spirit, which is why stars like Solange Knowles, Sarah Paulson, and Tracee Ellis Ross were all seated in the front row at the S/S 26 show, dressed head-to-toe in the brand. They were not the only celebrities present; Emma Chamberlain, Parker Posey, Emily Ratajkowski, Yara Shahidi, Sarah Snook, and Milly Alcock were also there, enjoying a close-up view of Hernandez and McCollough's Loewe debut. The best part? Some attendees, including Paulson and Posey, were already seen with their Amazona 180s, making them the first to flaunt one of next season's most coveted bags.

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Here’s How to Prioritize Who What Wear Articles in Your Google Search Results Here’s How to Prioritize Who What Wear Articles in Your Google Search Results It's really simple. Daniel Roseberry showcased a real-life Schiaparelli fantasy to combat the current trend of sloppiness. Daniel Roseberry showcased a real-life Schiaparelli fantasy to combat the current trend of sloppiness. It's the type of collection that will make you pause your doomscrolling. Prediction: *This* Surprising Watch Trend Will Be the Most-Complimented Accessory of 2026 Prediction: *This* Surprising Watch Trend Will Be the Most-Complimented Accessory of 2026 Purchase it here. The concepts behind the spring 2026 Schiaparelli collection began when Creative Director Daniel Roseberry read about the decline in movie attendance in recent years alongside the surprising increase in museum visits. "It struck me as completely logical," he mentioned in the show notes. "Our phones offer a mix of superficial entertainment with very short-lived appeal." He then questioned why this reality had been accepted without challenge. "Is this truly what we desire?" he pondered. Despite the abundance of entertainment in 2025, Roseberry felt that genuine inspiration is becoming increasingly scarce. Consequently, he aimed to encapsulate authentic and valuable inspiration for the collection named Dancer in the Dark. The latest runway show occurred at the Centre Pompidou, in the same space that hosted the Brancusi retrospective just eighteen months earlier. Roseberry wasn't trying to create a direct link between fashion and art but rather wanted attending a Schiaparelli show to evoke the experience of visiting a museum. "It should invoke the feeling of dancing alone at home after work. It should feel like dancing in the dark—equally freeing; equally private; equally joyful." Roseberry has carved his own identity at Schiaparelli, yet Elsa Schiaparelli, the founder of the house in 1927, remains a continual source of motivation. Roseberry stated, "Schiaparelli RTW has always occupied the space between commercial viability and creative release. Elsa was never a creator of new silhouettes—that was never her intention. She also wasn’t a genius at brand marketing. However, she was brilliant in her cultural engagement." This connection to Elsa is most apparent in the Schiaparelli jacket, which is simple and sharp, devoid of excess embellishments. It epitomizes discipline and restraint. Roseberry refers to this idea as "hard chic," an aesthetic also reflected in the column dresses. The trompe l'oeil knitwear was rendered in three-tone jacquards as a nod to Elsa's knitted pieces. Bias-cut dresses with tears paid homage to the 1938 Tears Dress, a Surrealist collaboration between Schiaparelli and Salvador Dalí. Roseberry emphasized the importance of creating accessories that would be as enjoyable as the ready-to-wear collection, which certainly was achieved. The Secret, Schiaparelli's padlock handbag, was designed in new dimensions to echo Dalí’s melting clocks. "Every shoe and handbag starts with sketches, which I believe is evident in the final items," Roseberry noted. The bag possesses a raw quality that contributes to its quirky charm; it does not take itself too seriously. For a considerable time, Roseberry felt uncertain about the common perception that his ready-to-wear collection resembled couture. Initially viewing it as a critique, he has since re-evaluated his stance. "Now, six years into this journey at Schiaparelli, what once felt like a drawback now appears to be a strength. Who wouldn’t want to engage in a fantasy that simplifies daily life? Why shouldn’t fashion—even everyday fashion—be considered art?" His spring 2026 collection illustrated just that, proving there's no reason not to don apparel that wouldn’t seem out of place in a museum—particularly when that apparel bears the Schiaparelli name. The concepts behind the spring 2026 Schiaparelli collection began when Creative Director Daniel Roseberry read about the decline in movie attendance in recent years alongside the surprising increase in museum visits. "It struck me as completely logical," he mentioned in the show notes. "Our phones offer a mix of superficial entertainment with very short-lived appeal." He then questioned why this reality had been accepted without challenge. "Is this truly what we desire?" he pondered. Despite the abundance of entertainment in 2025, Roseberry felt that genuine inspiration is becoming increasingly scarce. Consequently, he aimed to encapsulate authentic and valuable inspiration for the collection named Dancer in the Dark. The latest runway show occurred at the Centre Pompidou, in the same space that hosted the Brancusi retrospective just eighteen months earlier. Roseberry wasn't trying to create a direct link between fashion and art but rather wanted attending a Schiaparelli show to evoke the experience of visiting a museum. "It should invoke the feeling of dancing alone at home after work. It should feel like dancing in the dark—equally freeing; equally private; equally joyful." Roseberry has carved his own identity at Schiaparelli, yet Elsa Schiaparelli, the founder of the house in 1927, remains a continual source of motivation. Roseberry stated, "Schiaparelli RTW has always occupied the space between commercial viability and creative release. Elsa was never a creator of new silhouettes—that was never her intention. She also wasn’t a genius at brand marketing. However, she was brilliant in her cultural engagement." This connection to Elsa is most apparent in the Schiaparelli jacket, which is simple and sharp, devoid of excess embellishments. It epitomizes discipline and restraint. Roseberry refers to this idea as "hard chic," an aesthetic also reflected in the column dresses. The trompe l'oeil knitwear was rendered in three-tone jacquards as a nod to Elsa's knitted pieces. Bias-cut dresses with tears paid homage to the 1938 Tears Dress, a Surrealist collaboration between Schiaparelli and Salvador Dalí. Roseberry emphasized the importance of creating accessories that would be as enjoyable as the ready-to-wear collection, which certainly was achieved. The Secret, Schiaparelli's padlock handbag, was designed in new dimensions to echo Dalí’s melting clocks. "Every shoe and handbag starts with sketches, which I believe is evident in the final items," Roseberry noted. The bag possesses a raw quality that contributes to its quirky charm; it does not take itself too seriously. For a considerable time, Roseberry felt uncertain about the common perception that his ready-to-wear collection resembled couture. Initially viewing it as a critique, he has since re-evaluated his stance. "Now, six years into this journey at Schiaparelli, what once felt like a drawback now appears to be a strength. Who wouldn’t want to engage in a fantasy that simplifies daily life? Why shouldn’t fashion—even everyday fashion—be considered art?" His spring 2026 collection illustrated just that, proving there's no reason not to don apparel that wouldn’t seem out of place in a museum—particularly when that apparel bears the Schiaparelli name. Here is my complete review.

A New Era Begins at Loewe—and the Future Looks Promising

Here’s our analysis of Jack McCollough and Lazaro Hernandez's first appearance for the Spanish fashion brand at Paris Fashion Week.