Apologies for the simplicity, but I must express this: Jonathan Anderson unveiled a captivating Loewe collection for fall. It overflowed with remarkable pieces—elegant flowing cutaway jersey dresses, impeccably tailored coats, botanical and vegetable prints, voluminous trousers, and shearling aviator jackets that left no room for compromise. Anderson’s mastery lies in his ability to seamlessly blend unconventional pairings, orchestrate intricate craftsmanship, and elevate everyday wear into a thrilling language of fashion.

However, there’s more to this show than meets the eye. During Anderson’s post-show discussion, we discovered that the critical framework was profoundly meta. Set against a backdrop of small landscape and domestic scenes by the reclusive American painter Albert York, it became a meditation on luxury. Specifically, Anderson zoomed in on the interior landscapes and ornate antique objects cherished by affluent Americans. He delved into the concept of provenance—why we acquire things and how they acquire meaning. It’s like an outsider peering into a world we rarely experience. 

Jonathan Anderson made an intriguing discovery: Jackie Kennedy owned several of Albert York’s exceptionally rare paintings. Interestingly, Anderson himself possesses one of York’s works—a canvas print of “Landscape with Three Trees and a Pond” from 1984, which he used as the show invitation. The juxtaposition of an artist so removed from society, dedicated to portraying life’s simplicity—nature, flowers, and dogs—becoming treasures in high-society circles must have struck Anderson as surreal.

Anderson’s mind, ever associative, then wandered to the world of opulent collectibles. He observed the elaborate china, pet-themed tapestry embroideries, and Chippendale furniture meticulously placed by women interior designers, particularly those active in the 1920s, within their Upper East Side apartments.