To be exact, two life-sized replicas of a giant pumpkin – the sort that wins blue ribbons at competitions – dominated the show arena, which was covered in brown carpet. Clad in orange leather, these humongous installations were the brainchild of 44-year-old British artist Anthea Hamilton and christened Giant Pumpkins (2022). While they make great Instagram fodder, the show notes indicated that their “large, soft and wondrous forms invite touch and the possibility for reclining across their cushioned contours, as objects ripe with surrealist potential and humour, but also replete with beauty”.

Hamilton, a former Turner Prize nominee who is known for her peculiar large-scale works and for her affinity with squashes (check out her 2018 exhibition at Tate Britain called The Squash), was also responsible for the installation outside the show venue. The gigantic image of a male model in a pair of skimpy trunks hung above the entrance, with the scaffolding showing through from behind. This commanding visual is a reproduction of Hamilton’s Aquarius (2010) and is a nod to Leonardo da Vinci’s Vitruvian Man.

Loewe stated in the show notes that this collection is meant to “entice a reaction”. And nothing got our attention more than when two models zoomed onto the stage dressed in trapeze dresses that had life-sized toy cars moulded onto the flounce of the hem. It was absurd but a brilliant commentary of fashion and clothes as a form of escape (especially in these times we’re living in).

Latex brings along with it plenty of connotations – from kink to protection to parties. And the Loewe show explored all aspects and qualities that this synthetic material possesses. Balloons, which is one of the most common items crafted from rubber turned out to be one of the most endearing motifs that popped up in the show.

Three-dimensional trompe-l’oeil latex sculptures of balloons were stuffed onto the crevices of necklines – their bottom knots a cheeky wink to nips. On a column dress, balloons were squished into the drapery. There were even balloons stuffed in between straps of sandals and on heels, insinuating that they could burst anytime.

Besides the balloons and cars, surrealist influences were present everywhere. Given the chaotic state of world affairs, it did seem uncanny that Anderson turned to an art movement that flourished in Europe during the two World Wars. Loewe’s dreamy creations included giant puckers as breastplates and moulded leather dresses that looked like they’d been flicked by the wind and stood frozen in time.

Some of the house’s iconic bags received the “puffed” up treatment during the show. These include the Flamenco clutch which was rendered in plush pillowy leather and the Goya shoulder bag whose anagram clasp has been inflated with a balloon-like effect for visual impact. Other accessories such as sunglasses and jewellery also bore the same smooth bulbous treatment.