The Danish brand turned to the playbook and methodologies of abstract artist Robert Ryman to steer its quiet elegance for autumn/winter '25
The late American abstract artist Robert Ryman focused on “how to paint” rather than “what to paint” – a philosophy adopted by the Lovechild 1979 designers for autumn/winter '25. For the Danish brand, its materials in place of paint: speckled two-tone sustainable wool, heavy bouclé and raw satin. This season, Lovechild 1979 has mastered the “how” of it all – letting the rich fabrics speak for themselves.
It's easier said than done, executed through subtle nuances and meticulous details (reminiscent of Ryman's renowned white-on-white paintings). Capes draped just-so, wide-leg trousers in painfully precise proportions, and just the right level of volume in a billowing blouse. The colour palette, inspired by Ryman’s work with muted tones, shifts from soft whites to earthy burgundies and greys, grounding the collection in a natural elegance.
Closer inspection reveals heritage textiles at play such as soft houndstooth and chevron, while sumptuous leather accessories add an extra dimension. All in all, Lovechild 1979's AW25 serves as a wardrobe uniform but, as the collection notes clarify, "not as a rigid concept but as a fluid blend of timeless garments that resonate with our core values. By weaving together timeless essentials with an understated complexity we aimed to mirror Ryman's layered compositions."
See the full Lovechild 1979 autumn/winter '25 collection below. Photos by Nivikka Andersen, Nogens Note.
