How did Jonathan Anderson (creative director of Loewe) approach you to work on Past, Present Future and what were his expectations?
Jonathan saw the last issue of one of my magazines called Fanzine 137, which he liked very much, and decided that I was the right person for the project. I guess that it’s also because I’m a Spanish person who has known Loewe forever, even before he knew about Loewe — it’s part of our (Spanish) DNA. As for expectations, he was very clear that he just wanted me to be free and create whatever format, whatever kind of content I felt was right. He wanted to be surprised, but the final book is not so different from the mock up that I showed him. This book documents very exhaustibly the years of Loewe now, the years of Jonathan as creative director of Loewe.
You've mentioned that you prefer the book to be treated as an object open to interpretation. What did you mean?
We didn’t want it to be those hardcover coffee table books, we preferred it to be a huge paperback book that you can work with and use post-its to tag your favourite pages... like if I was a student of fashion and I need to add or draw something, why not? Every time I read a book and I like a particular sentence, I take a pen and I underline them and make remarks. The idea is that, but with images. Working with a book that way makes it even more personal to the person who bought it.
It’s a huge book with an unconventional format — there’s also no text except for the index where the photographs are taken from etc. What was your reason?
I love books and every time I look at them I always feel like… Well… I have to be honest. I, and most of the people I know, only look at the images but don’t really read the text. The main thing is not what you say about the art, it’s the art itself: the images are the main thing. Every time I publish something, I think my duty is to entertain, to inspire and to inform.
With this book, how do you define newness in an era where we keep re-contextualising images from the past?
It’s a book about history but it’s history done from an emotional approach, not by a chronological way. And I feel that’s really new. The fact that you have to check the index to what era it’s from, you’ll realise “oh, this looks really old, but its really new” or “this looks really new but it’s happened in 1985”.
How do you think the people who know very little about Loewe will receive the book, since there’s so few non-visual information?
I focused more on the aspect of inspiration and entertainment, more so than real information. We don’t have to exactly say what happens for every year because the book’s idea is a seductive one. Texts and captions are very informative, very documented, very complete and very successful — but we focused more on what Loewe has been [historically] and what Loewe is these days, visually. Besides, we’re in a time where we communicate through images, such as through Instagram.