Loewe has spent years proving that luxury does not have to behave itself. Leather can look like something else entirely, a bag can become an art object and a perfectly ordinary wardrobe staple can be pushed just far enough that you need a second look to understand what you are seeing. Somehow, the stranger Loewe became, the more desirable it felt.

That makes taking over the house a difficult assignment. For Spring/Summer 2026, Jack McCollough and Lazaro Hernandez had to introduce their own Loewe without losing the curiosity that made the brand so compelling in the first place. Their answer is not to make things safer. It is to find new ways of being weird.

THE ORDINARY GETS WEIRD AGAIN

The collection begins with recognisable things: jeans, button-down shirts, T-shirts, windbreakers and dresses. Then Loewe interferes with them. Denim becomes shredded leather. Shirts are constructed from leather, hand-pleated and spray-painted. Familiar tops are made using leather yarn threaded with wire until their surfaces begin to crinkle and hold shapes of their own.

Other experiments move even further away from what the eye expects. Towel-like dresses are created from 3D-printed material, while technical outerwear pushes silk into unfamiliar territory. None of it feels like technology being used simply because it can be. The materials exist to destabilise familiar objects, which has long been one of Loewe's most convincing tricks.

COLOUR DOES A LOT OF THE WORK

There is also an immediate confidence to the colour. Ellsworth Kelly's Yellow Panel with Red Curve greeted guests at the showspace, and that intensity travels straight into the collection. Acid brights and saturated blocks of colour collide with sculptural leather and more familiar wardrobe pieces, giving the clothes an energy that feels deliberately uncomplicated.

That matters because experimental luxury can easily become overly intellectual. Loewe avoids that trap. A strange material can still be funny. An aggressively sculpted jacket can still be beautiful. A hand-blown glass clutch can exist somewhere between craftsmanship, absurdity and an object you simply want to hold. The collection never asks you to choose between taking the work seriously and enjoying it.

THE NEW LOEWE STILL FEELS LIKE LOEWE

Perhaps the smartest decision McCollough and Hernandez make is not treating their arrival as permission to erase the house's personality. Their debut is clearly different, but the underlying question remains familiar: how far can craft transform an object before it becomes something else?

The new Amazona 180 captures that idea particularly well. It revisits one of Loewe's established bags with a softer, slouchier construction, a single handle and new double-L branding. It is recognisable enough to carry history but relaxed enough to belong to this version of the house.

That balance is why Loewe's particular kind of weirdness has become so convincing. The experimentation is rarely separated from desirability; the joke is rarely separated from craftsmanship. McCollough and Hernandez have inherited a luxury house where a leather shirt, glass bag or impossible shoe no longer feels like an exception.

At Loewe, strange has become part of the expectation.