Sandra‘s Closet

John Galliano x Zara: A Collision of Genius and Contradiction

When Zara announced its two-year creative partnership with John Galliano, the fashion world did what it always does in moments like this: it paused, tilted its head, and tried to understand.

Because Galliano is not just another designer. He is, quite simply, one of the most extraordinary creative minds fashion has ever produced. A couturier in spirit, a storyteller by instinct, someone who does not merely design clothes but constructs entire emotional universes around them. His work has always existed somewhere between theatre and technique, excess and precision.

And now… Zara.

The partnership, set to begin in September 2026, promises a reworking of the brand’s own archives, with Galliano deconstructing past garments and reshaping them into new seasonal collections. On paper, it sounds almost poetic: a dialogue between past and present, between mass production and couture authorship.

But the reality feels more complicated.

A visit to the Maison Margiela Couture atelier in 2024 when Galliano presented its last collection for the Maison for Spring 2024.

There is something deeply paradoxical about placing a designer of Galliano’s caliber within the machinery of fast fashion. His talent has always thrived on time, craft, and obsessive detail, qualities that stand in quiet opposition to the speed and scale that define Zara. It is difficult not to feel that something fragile might be lost in translation.

And yet, there is another side to this.

Discovering an amazing archive.

Fashion has long struggled with accessibility. The great maisons, once temples of aspiration, have increasingly become fortresses, defined by relentless price increases, a noticeable decline in quality, and, perhaps most discouragingly, a certain aloofness that keeps many new customers at the door rather than inviting them in. The joy of fashion, of discovery, of participation, has in many ways been diminished.

In that sense, this collaboration raises an interesting question: what does it mean to bring a couturier’s vision to a wider audience?

There is something undeniably compelling about the idea. About Galliano’s imagination reaching people who would otherwise never experience it. About dissolving, even slightly, the rigid boundaries between luxury and accessibility.

But accessibility at what cost?

Fast fashion, by its very nature, carries an uncomfortable weight, of overproduction, of disposability, of a system that prioritizes immediacy over longevity. To place a designer who has always embodied the opposite within that framework feels, at least emotionally, like a mismatch.

Perhaps what many of us hoped for was something in between.

Not the rarefied distance of heritage houses, nor the relentless pace of fast fashion, but a space where creativity, craftsmanship, and accessibility could coexist without compromise. A house that could have given Galliano the room he deserves, while still speaking to a broader, modern audience.

Because his talent deserves that. It always has.

And still, despite the ambivalence, there is curiosity.

What happens when a couturier engages with constraints? When someone like Galliano is asked not to escape the system, but to reinterpret it from within? There is a possibility, however small, that something genuinely new could emerge from that tension.

For now, the announcement leaves us suspended between admiration and unease. We celebrate the return of a genius to the spotlight, while quietly mourning the context in which it happens.

Perhaps that is where fashion finds itself today: caught between two extremes, still searching for its middle ground.

LoL, Sandra

Photos: © Sandra Bauknecht, John Galliano: Photographer / Art Director: Szilveszter Makó @szilvesztermako
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Pieter Mulier Leaves Alaïa – And I Couldn’t Be More Excited for What He’ll Do at Versace

There are designers who simply take over a house, and then there are those rare creative minds who truly understand its soul while still moving it forward. Pieter Mulier belongs firmly in the latter category.

Born in Belgium in 1976, Mulier originally trained as an architect, something you can still feel in his work today. His designs often have a structural clarity, a precision that shapes the body rather than just dressing it. Before stepping into the spotlight himself, he spent years working alongside Raf Simons, assisting him at Jil Sander, Dior, and Calvin Klein, quietly building a reputation as one of fashion’s most respected creative collaborators.

But it was his appointment as creative director of Alaïa in 2021, becoming the first creative director since Azzedine Alaïa’s passing, that truly revealed the depth of his talent.

With the late Azzedine Alaïa in his Parisian kitchen in 2015.

Taking over a house as legendary as Alaïa is no easy task. The brand has always stood for sculptural silhouettes, technical mastery, and a very particular idea of femininity, strong, sensual, and timeless. What impressed me most about Mulier was his ability to preserve that unmistakable signature while gently modernizing it. His collections never felt like nostalgia, yet they were always unmistakably Alaïa.

I also have a very personal memory connected to Pieter. I met him as guest of NET-A-PORTER when he presented his very first collection for Alaïa and that encounter stayed with me. He is not only incredibly talented, but also genuinely warm, thoughtful and approachable. There is a quiet intelligence about him, a calm confidence that feels very authentic. After meeting him in person, his creations resonated with me even more. Knowing the person behind the work added another layer of meaning.

Visiting the beautiful retrospective of Alaïa designs at 4, rue de Verrerie, 75004 Paris.

Azzedine Alaïa himself, whom I met on several occasions, was also an extraordinary human being, full of generosity and vision. And I truly feel that Pieter understood that legacy, not by copying it, but by translating it into his own language. He honored the spirit of the house while speaking in a voice that was entirely his own.

Display of Pieter’s first collection for Alaïa in store.

On a personal note, one of the changes I appreciated most was the introduction of French size 34. It may sound like a small detail, but for many petite women, myself included, it made the brand significantly more accessible. Suddenly, these beautifully constructed pieces felt not only aspirational but wearable.

My Look: Cocktail Hour (October 2023)

And wearable they were. Over the past five years, Alaïa has easily become one of the labels I’ve purchased the most. Season after season, Mulier delivered designs that felt intelligent, emotional, and incredibly refined. There was always a sense of discipline behind the beauty,  nothing excessive, nothing forced.

My Look: New! (May 2022)

He managed something very few designers achieve: evolution without disruption. New shapes, new proportions, both unmistakably modern.

My Look: Life Is Too Short To Wait (September 2023)

Which is exactly why his move to Versace feels so exciting.

Versace is a house built on confidence, glamour, and bold sexuality, but in recent years, it has arguably lacked a clear creative direction. Donatella Versace, who had been at the helm since 1997, announced her departure as Creative Director in March 2025, transitioning to the role of Chief Brand Ambassador. Her exit marked the end of an era for the brand she helped shape for nearly three decades.

Following her departure, Dario Vitale, formerly the Design and Image Director at Miu Miu, was appointed as Versace’s Creative Director on April 1, 2025. His tenure was notably brief, culminating in a single runway show presented during Milan Fashion Week in September 2025. While some praised his fresh approach, others felt it deviated too far from Versace’s iconic aesthetic. Ultimately, his stint ended in December 2025, just months after it began.

With Pieter Mulier in Paris

Now, with Pieter Mulier stepping in, the brand is poised for a revitalization. His architectural sensibility and respect for brand heritage position him as a promising fit to steer Versace into a new era. If he could balance heritage and innovation so masterfully at Alaïa, imagine what he might do with a brand that thrives on spectacle.

My Look: August (August 2025)

Personally, I cannot wait to see what he creates. Fashion is always at its most thrilling when the right designer meets the right house at exactly the right moment and this feels like one of those moments.

If his time at Alaïa proved anything, it is that Pieter Mulier doesn’t just design clothes. He builds worlds. And I have a strong feeling that Versace is about to become a very exciting one.

LoL, Sandra

My Look: London (April 2023)

My Look: ‘Tis The Season To Be Jolly (December 2024)

My Look: Buttercup Yellow (July 2025)

My Look: Mini (May 2024)

My Look: Mystical NYC (April 2022)

My Look: Burgundy (October 2025)

Photos: © Sandra Bauknecht
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There could hardly have been a more fitting moment for an evening dedicated to craftsmanship, heritage, and design. As Bvlgari celebrates 120 years of its St. Moritz boutique, Mary Katrantzou travelled to Switzerland for the occasion, beginning with a first stop in Zurich before heading to St. Moritz. During an evening in Zurich, the Maison once again demonstrated its remarkable ability to honour its history while expressing a confident and contemporary creative vision, with Mary’s presence adding a meaningful creative dimension to the celebration.

Against this backdrop, the unveiling of the Spring/Summer 2026 Leather Goods and Accessories collection, alongside the sculptural Icons Minaudière creations, carried particular weight. The evening was not simply about new designs; it was about continuity, evolution, and the discipline required to build icons that endure.

At the center of it all stood Mary Katrantzou, Creative Director of Leather Goods and Accessories, whose approach to design is guided by structure, clarity, and an uncompromising respect for craftsmanship. Mary does not create bags as seasonal statements, she constructs objects intended to last, pieces defined as much by their engineering as by their beauty.

Under her direction, High Craft is not a tagline. It is a methodology.

Seeing the Icons Minaudière collection in person made this immediately evident. Architectural and jewel-like, these pieces occupy a space somewhere between handbag and collectible design object. Metal frameworks are executed with remarkable precision, surfaces are resolved with near-jewelry attention, and every proportion feels deliberate.

The XS minaudières, notably smaller than a smartphone, express this philosophy with particular confidence. They are not designed around practicality but around presence, objects chosen for their expressive power rather than their capacity. It is a bold stance, and one that speaks to a house secure in its authority.

Running parallel to these sculptural forms was the emotional centerpiece of the evening: the newest iteration of the Serpenti Cuore 1968.

Following its successful debut, the heart-shaped silhouette returns for Spring/Summer 2026 in ultra-supple Light Amethyst calf leather. Defined by its emblematic form and the sinuous metallic snake handle inspired by the Serpenti Harlequin watch of 1968, the design captures the idea of love with surprising discipline, romantic, yet architecturally controlled.

Arriving just ahead of Valentine’s Day, the bag felt perfectly timed. Not sentimental, but symbolic.

The Cuore universe expands further with the introduction of the Serpenti Cuoricino, a jewel-like miniature that reinforces Mary’s nuanced exploration of scale. Retaining the padded curves of the original, it reads almost as wearable jewelry. Pavé crystal versions, meticulously hand-applied through a complex multi-step process involving more than 4,600 Swarovski crystals, leave no doubt about the level of craftsmanship at play.

For me, however, the evening carried an additional – deeply personal – dimension.

Mary and I have shared a friendship for many years, and seeing her present these collections with such quiet authority filled me with enormous pride. She is endlessly inspiring: intellectually rigorous, instinctively creative, and grounded in a warmth that makes her brilliance feel even more rare.

Over time, I have collected each of her own collections, pieces I continue to return to not only for their design but for what they represent. Wearing a look from her F/W 2018 Bauhaus collection that evening felt almost inevitable, a gesture of admiration, but also of continuity.

With heart-shaped bags subtly setting the tone, it felt as though Valentine’s Day had arrived early. Yet rather than romance, the atmosphere suggested something more modern, a refined kind of Galentine’s moment: women supporting women, celebrating creativity, and recognizing the work behind objects of lasting value.

After the presentation, we slipped away for dinner, just the two of us. Mary tried Zürcher Geschnetzeltes for the very first time – a proper Zurich classic – and the simplicity of that moment provided the perfect counterbalance to an evening defined by high craft.

What lingered afterward was not only the beauty of the objects, but the clarity of the message behind them.

One hundred and forty years after its founding, Bvlgari continues to prove that true icons are never static. They evolve, they adapt, and when guided by vision and craftsmanship, they remain unmistakably relevant. And some evenings remind you that the future of a historic house is safest in the hands of designers who understand exactly that.

LoL, Sandra

Photos: © Sandra Bauknecht and Courtesy of BVLGARI / Remy Steiner for Bvlgari
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End of an Era at Hermès: Véronique Nichanian Steps Down – What Comes Next?

In a major moment for luxury fashion, Véronique Nichanian (71), the longtime creative force behind Hermès menswear, has officially stepped down, closing one of the most enduring chapters in modern fashion history.

A Legendary Tenure: 37 Years at Hermès

Véronique Nichanian’s career at Hermès is nothing short of extraordinary. Joining the French luxury house in 1988, she built and defined Hermès’s menswear identity from the ground up after being recruited from Cerruti by Jean-Louis Dumas.

Over her 37-year tenure, she became known for a design philosophy rooted in understated elegance, impeccable craftsmanship, and timeless sophistication, hallmarks of the Hermès aesthetic. Rather than chasing trends, Nichanian favored subtle refinement: beautifully constructed garments that married functionality with quiet luxury.

Her longevity also made her one of the longest-serving creative directors in fashion, a rare figure of continuity in an industry often defined by rapid change and designer turnover. With a 37-year tenure, Nichanian even surpasses Karl Lagerfeld’s legendary 36-year run at Chanel, making her one of the longest-serving creative directors in modern luxury fashion history.

Nichanian’s final collection for Hermès was presented during the January 2026 runway season, marking the end of an era both for her and for the brand’s menswear division.

Passing the Torch: Grace Wales Bonner Takes Over

Hermès has chosen British designer Grace Wales Bonner as Nichanian’s successor in the menswear creative director role. The announcement marks a bold, yet thoughtful, new chapter for the storied French maison.

At 35 years old, Wales Bonner brings fresh energy and a unique artistic perspective to one of fashion’s most iconic houses. She founded her eponymous label, Wales Bonner, in 2014 and has been celebrated for her work that bridges fashion, culture, and intellectual inquiry — earning awards and global recognition along the way.

Her appointment to Hermès also carries symbolic weight: she becomes one of the few Black women to lead design at a major luxury fashion house, a milestone in an industry still grappling with representation and diversity.

Wales Bonner’s first collection for Hermès is slated to debut in January 2027, giving her an entire year to shape her vision for the brand’s menswear future.

Will It Be a Fresh Wind or a Seamless Transition?

The shift at Hermès is significant not just because of Nichanian’s tenure, but because it highlights Hermès’s careful balance between heritage and evolution.

Nichanian’s legacy is rooted in quiet power, precision tailoring, and a measured, less overtly trend-driven approach. Her work embodied Hermès’s dedication to craftsmanship and enduring style rather than seasonal spectacle.

Grace Wales Bonner’s design ethos, by contrast, leans into cultural narratives, global references, and artistic collaboration, which many expect to inject a fresh creative energy into the house. Her work often explores identity, music, art, and African diaspora influences, which might introduce new dimensions to Hermès menswear without disrupting the brand’s core values.

Fashion industry commentators see this move as potentially expansive rather than disruptive: a way for Hermès to evolve its menswear identity thoughtfully while retaining its signature DNA of refinement and quality.

Looking Ahead

As Hermès prepares for this new creative era, all eyes will be on Wales Bonner’s first runway collection in January 2027. Will it stay true to classic Hermès restraint? Will it redefine the brand’s codes for a new generation? Only time will tell  but the appointment certainly suggests a dynamic future ahead for one of fashion’s most revered maisons.

LoL, Sandra

Photos: © Sandra Bauknecht, © Hermès, © Grace Wales Bonner
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Today, Italian fashion legend Valentino Garavani has passed away at age 93. We will never forget his elegant evening gowns that were favored for decades by some of the world’s most glamorous women. He «peacefully passed away today at his residence in Rome, surrounded by the love of his family,» a statement posted to Instagram said.

I am deeply grateful that I had the honor of knowing him, a truly great designer, defined by class, elegance, and timeless vision. He was one of the true giants of fashion, and he will be profoundly missed.

From founding his maison in Rome to shaping decades of haute couture, his legacy changed fashion forever.

Born in Voghera, Italy on May 11, 1932, he discovered his passion for fashion at a young age. He moved to Paris to study couture and trained in the ateliers of Jean Dessès and Guy Laroche, mastering the discipline and elegance of French haute couture before returning to Italy.

In 1959-60, he founded Maison Valentino in Rome together with Giancarlo Giammetti. Rome became the heart of the house, a place where Italian craftsmanship met timeless glamour. Valentino quickly gained international recognition after presenting his couture collection in Florence in the early 1960s, marking the beginning of his global success.

VOGUE Italia will launch a collectible cover edition to honor Valentino, launching on Feb 27, 2026.

His work became synonymous with absolute elegance, refined femininity, and meticulous craftsmanship. Over the decades, Valentino dressed some of the most iconic women in history, shaping red-carpet culture and defining an unmistakable aesthetic, forever associated with sophistication and the legendary Valentino Red.

«I think that a woman dressed in red is always magnificent.» – Valentino Garavani

In 2008, Valentino retired after a final haute couture show in Rome, closing a historic chapter while leaving behind a legacy that continues to define luxury fashion. Today, Valentino lives on as a house owned by Mayhoola, with Alessandro Michele carrying its creative vision forward.

You will be missed, Maestro, one of the true giants of fashion.

LoL, Sandra

Photos: Courtesy of Valentino and © Sandra Bauknecht
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Today feels heavier. Giorgio Armani has left us, and with him goes one of the last true visionaries of fashion. It’s strange to think of a world without him because his presence was never loud, never overbearing, yet always unmistakably there. He shaped style in a way that was subtle but powerful, whispering instead of shouting, and somehow that made his voice even stronger.

When I think of Armani, I think of clarity. His lines were always clean, his choices deliberate, his signature impossible to miss. You didn’t need to check the label to know it was his work, you simply saw it, and it carried his name without a word being spoken. That’s what made him unique: the courage to be simple, and the genius to make simplicity extraordinary.

«Money cannot buy elegance.» – Giorgio Armani

His Journey

Armani’s path was anything but ordinary. Born in Piacenza, Italy, he didn’t step straight into fashion. He first studied medicine, then served in the army, and later worked as a window dresser before entering the world of design. These detours shaped his sharp eye for detail and his quiet discipline.

The Armani empire

In 1975, he founded his own label and that year, I came into the world too :-). Our timelines have always been parallel in that way: while I was taking my very first steps in life, he was taking his bold first step into building an empire.

From that beginning, fashion was never the same. He stripped away the stiffness of traditional tailoring, introducing unstructured jackets and a softer silhouette that allowed people to move freely while still looking impeccable. Hollywood quickly embraced his vision, and soon the world followed. What began as a single idea grew into an empire spanning clothing, fragrance, interiors, even hotels—all carrying the same unmistakable touch: timeless, elegant, unmistakably Armani.

Armani Privé F/W 2025 – Femme Fatale and the Female Dandy

A Legacy of Elegance

For decades, he gave the world beauty without excess, elegance without noise. He redefined how people dressed, how they moved, how they saw themselves. His designs weren’t just clothes, they were a kind of confidence, a second skin that felt effortless yet refined.

And now, he’s gone. Another one of the greats, another light fading from the stage of our time. But in my heart, I can’t help but believe he isn’t truly gone. He’s somewhere else now, perhaps already in the company of my dear mother, who left just a month ago. I imagine them meeting, two souls filled with grace, sharing a quiet smile in that endless place beyond us.

Armani’s legacy will live on in every soft shoulder line, every perfectly cut jacket, every timeless silhouette. And for me, his passing will always be tied to the memory of my mother, two lives that embodied elegance in their own ways, now side by side.

Rest gently, Maestro. And give my love to her.

LoL, Sandra

Photos: © Armani
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I was thrilled to hear about the appointment of Pierpaolo Piccioli as the new creative director of Balenciaga. Having had the chance to meet him personally, I was deeply impressed not only by his creative vision but also by his warmth and humility. His work at Valentino was nothing short of exceptional — poetic, elegant, and deeply human.

I loved Valentino under Pierpaolo.

With a career spanning over two decades, Pierpaolo began as an accessories designer at Fendi before joining Valentino in 1999. He rose to become co-creative director alongside Maria Grazia Chiuri, and later took the helm as sole creative director in 2016. Under his leadership, Valentino embraced a romantic, emotionally resonant aesthetic that combined timeless beauty with a strong message of inclusivity and humanity.

With Pierpaolo Picciolli and Maria Grazia Chiuri in 2013.

Balenciaga, on the other hand, has long stood for radical innovation, architectural silhouettes, and a provocative spirit. Founded by Cristóbal Balenciaga — a true master of form and construction — the house has never been afraid to challenge norms and push boundaries. It is today owned by the Kering Group.

Balenciaga S/S 2025 Campaign 

Pierpaolo’s arrival marks a fascinating and bold shift. It’s not only a meeting of two strong creative identities — it’s also likely a turning point for Balenciaga itself. After years of dominating the streetwear conversation under the leadership of Demna, who is heading to Gucci, and pushing shock-value aesthetics, this move could signal the end of that era. With Piccioli, we may see a return to emotion, craftsmanship, and elegance — a more refined and soulful vision of luxury.

I believe this is a powerful, forward-thinking decision and an exciting new chapter for both Piccioli and the house of Balenciaga.

LoL, Sandra

Photos: © Sandra Bauknecht and © Balenciaga
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In a major shake-up in the fashion world, Jonathan Anderson, the creative force behind JW Anderson, has been named the new artistic director of Dior Homme. The move marks a significant shift both for the designer and for the French luxury house, as Anderson prepares to take the reins of one of menswear’s most prestigious brands.

Anderson, who has long been known for his boundary-pushing, gender-fluid designs, has spent the last decade building his namesake label into a critical darling and commercial success. He has also served as creative director at Loewe since 2013, where he’s been widely credited with revitalizing the Spanish luxury label with his distinctive artistic vision. To see why I had always been a huge fan of his designs for Loewe, click here please.

His appointment at Dior Homme signals a potential new direction for the brand, one that may blend Dior’s classic tailoring with Anderson’s more avant-garde, experimental approach. Dior Homme has traditionally been known for its sleek, structured silhouettes, most recently under the leadership of Kim Jones, whose streetwear influences brought a fresh energy to the house.

Preppy tailoring and relaxed sportswear converge in the Dior Men Fall 2025 lifestyle capsule by Kim Jones.

With Anderson stepping in, the fashion industry is buzzing with anticipation. Will he bring elements of his own label’s playfulness and subversive style to Dior? Or will he chart an entirely new course, merging the heritage of Dior with a more conceptual lens?

Dior hastily issued a one-line press release saying Anderson was working on its spring 2026 men’s collection, which would be presented on June 27 at 2:30 p.m. during Paris Fashion Week. It also distributed a new official portrait of Anderson by photographer David Sims. 

Jonathan Anderson photographed by David Sims

As the fashion world waits for his first collection, all eyes will be on Paris to see how Anderson reshapes the legacy of Dior Homme. Personally speaking, as a big fan of his work, I would have loved seeing him at Dior to do the womenswear but let’s see …

LoL, Sandra

Photos: © Courtesy of Dior, @jonathan.anderson
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One week ago, I posted whom I would love to see at Loewe after Jonathan Anderson’s exit had been announced and yesterday the Spanish House fulfilled my prediction: Jack McCollough and Lazaro Hernandez, the duo behind Proenza Schouler, will be taking over as the brand’s new creative directors starting April 7, 2025. They’re stepping in after Jonathan Anderson, who spent 11 years transforming Loewe into a globally respected fashion house with over $1.5 billion in annual revenue.

Their work has been instrumental in shaping modern fashion, with a design practice rooted in a rigorous exploration of craft filtered through an artistic sensibility, which has not only evolved the industry’s landscape but aligns with the values that underscore Loewe’s 179-year heritage.​ This move is also part of a bigger shake-up by Loewe’s parent company, LVMH, as they fine-tune leadership across several luxury labels.

It’s a pretty big shift, and I am curious and excited to see how their American fashion background will influence Loewe’s next chapter.

LoL, Sandra

Photos: Courtesy of Loewe and © Sandra Bauknecht
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After months of speculation and not-so-subtle hints, Jonathan Anderson is stepping down as creative director of Loewe after more than a decade of leading the brand. Since joining in 2013, the Northern Irish designer has played a key role in transforming Loewe into a powerhouse of modern luxury, blending heritage craftsmanship with a fresh, artistic approach. Under his leadership, the brand saw significant financial growth, with annual sales surpassing €1 billion.

Puzzle Bag

Anderson is widely credited with reviving Loewe’s identity, introducing iconic designs like the Puzzle bag and championing craftsmanship through initiatives such as the Loewe Foundation Craft Prize. His departure comes amid broader shifts in LVMH’s fashion division, fueling speculation that he may be in line for a major new role—potentially at Dior, where rumors suggest he could take over both the men’s and women’s collections.

Will they succeed? Jack McCollough and Lazaro Hernandez

LVMH has not yet announced his successor at Loewe, but reports suggest that Proenza Schouler’s co-founders, Jack McCollough and Lazaro Hernandez, may step into the role. I would love to see the designer couple at Loewe as I think they would be the perfect match. Anderson, meanwhile, has expressed gratitude for his time at Loewe and hinted at new creative opportunities ahead. His next move will be closely watched, as he remains one of the most influential designers in contemporary fashion.

The fashion industry keenly awaits official announcements regarding the future of many houses and designers. The wheel of fashion is spinning fast at the moment. To give Anderson a little homage, I put together some of my favorite looks, bags and shoes he did for Loewe.

LoL, Sandra

My Look: The Bat

Loewe x Mackintosh

My Look: See U Later

My Look: Gingham

My Look: Contemporary Fashion

My Look: Maruja Mallo

My Look: Into The Blue

My Look: The Art of Fashion

My Look: Stay Cozy

My Look: Anagram

My Look: Montreux

Photos: Courtesy of Loewe and  © Sandra Bauknecht | David Biedert Photography
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