Loewe Spring 2026 Ad Campaign

Review of Loewe Spring 2026 Ad Campaign by Creative Directors Jack McCollough and Lazaro Hernandez with Photographer Talia Chetrit

The first campaign by Loewe under Jack McCollough and Lazaro Hernandez arrived to a notably warm reception online. And rightly so. It is striking, controlled, and visually assured. The tiled backdrops, the gloss of water, the slicked hair and saturated color create an environment that feels immersive, almost aquatic. You sense humidity, reflection, surface tension. It’s a campaign that hovers inside a pool, inside a bathhouse, inside a liminal, tiled world that feels both intimate and staged.

There are moments of real potency. The red sock shoe submerged in water is genuinely arresting, its translucence distorting against the pool floor, keeping the eye suspended longer than expected. A shot of a woman seen from above, legs crossed as she looks downward, holds an architectural elegance that feels true to Loewe’s cerebral core. The underwater components introduce intrigue, and the geometry of tiles gives dimensionality. These are images that linger.

And yet, for all its visual clarity, something remains just at the surface.

The runway offered strong clothes without heavy world-building. That restraint worked in that context. In a campaign, however, there is space to build myth, to shape narrative, to let us step fully into a constructed emotional landscape. This chapter feels more like a mood study than a story. The energy is sun-drenched, tactile, faintly erotic, as described in the press release , but the emotional temperature never quite rises beyond atmosphere. We are given texture, gloss, sheen, tension. We are not yet given stakes.

The decision to cast models rather than celebrities is refreshing. The past five years have delivered an excess of campaigns leaning on star power as shorthand. Models offer something different. They operate with creative freedom. They give us a face we can project onto, unencumbered by late-night interviews, podcast confessions, or pre-existing public narratives. They open the imaginative field. That freedom asks for authorship in return. It asks the house to define who these women are within its universe, to sculpt character, to allow vulnerability or desire or contradiction to surface.

Loewe’s history with art makes this absence more noticeable. The house has long engaged with artists whose work carries emotional gravity and conceptual tension. There is a missed opportunity here to channel that ethos more fully, to translate those emotive forces into the campaign’s world. The tiled pool, the suggestion of wetness, the interplay of skin and leather hint at depth. They invite a dive. Instead, the images float.

This is a beautiful first step. It establishes a tone, a palette, a sensual language. But something about it hovers at the surface. With water as its central metaphor, the campaign feels poised on the edge of immersion. The question is whether the next chapter will take us under, whether Loewe will allow us to swim inside its new world rather than observe it from above. For now, we are ankle-deep, admiring the light on the tiles, waiting to dive.