Presented in a raw warehouse, the clothing is clearly showcased with the theme of structure in mind. In this rollout, Luxenburg prompts viewers to not only question what it means to connect with pieces of clothing, but what it means to watch them undergo their own metamorphoses over time. The audience is asked to consider concepts like lifespan, appreciation, and meaning.
Luxenburg differentiates itself through its very careful attention to detail, as every piece presented was designed and handcrafted by the brand’s Creative Director, Braedy Luxenburg. No sewers or sample makers were employed for the endeavor, making this runway one that stands and moves close to the heart of the designer himself. In doing this, Luxenburg establishes itself as a brand that cares for authenticity and refuses, so early on, to submit to mass production or emotional distance.
The show was sonically backdropped by musical duo, Broom, which shaped the space into something otherworldly, an environment where feathery visuals, lengths of leather, and chains could become vital components of a new subversive world. Blacks, mustard yellows, maroons, and whites created a distinct visual memory for this collection. The ribbon motif that can be seen throughout the runway is a reference to the École des Beaux-Arts (School of Fine Arts), and the experience that “gifted” children embark on when they are labeled as such in the early days of youth. Psychological burnout and the pain of self-degradation intertwine themselves with the allegories of this release, as not only do the bodies of humans and their fashion deteriorate over time, but so does the mind, and so does our capacity. The collection is, therefore, one that is raw and true in all aspects of the human experience.
In this live performance, the lifestyle brand transported us into a 1990s hotel room, littered with cigarettes, liquor bottles, a box television, and a man and woman who appear put together in their own right, but who act entirely disheveled in eachother’s presence. The choreography by Celia Rowlson Hall showcases the woman tying up the man, murdering him, and kicking him out, before she is depicted following a dance routine being broadcast.
The presentation sought to question modern society’s obsession over true crime and conspiracy. Art, fashion, and social commentary convene in this performance of disruption. It is based on Bittar’s viral mockumentary, The Sexecutions of Amanda Gates, which was co-directed by Klimovsky. In this live show, Jazzelle plays Amanda Gates, an experienced murderer whose goal is simple: seek justice on male sex offenders who have not been prosecuted. Amanda Gates is bejeweled by Alexis Bittar, a culprit drinking straight from the bottle, dancing like no one is watching, and beating the evil out of men.
The “evidence” viewing room featured Bittar’s FW26 accessories collection as if they were pieces of the crime scene the audience witnessed. There were bangles, statement necklaces, chunky earrings, handbags, and more that assumed their positions in the glass cases, labeled by evidence cards. The collection is a myriad of opulence and seduction combined, with 14k gold-plated serpents wrapping themselves around leather clutches luringly, and deco cut crystals adorning accessories with a sense of brutal regalness.
The narrative drawn in Alexis Bittar’s FW26 NYFW experience allowed for full emotional freedom and brought fashion lovers into the intensity of spectatorship. The collection and the presentation that accompanied it remind us all that voyeurism is also a language for empathy and emotional impact.
The campaign appears in LOEWE’s quarterly magazine from February 19, with the collection arriving in stores and online February 26
