We'll be honest, we weren't sure what to expect. What Jonathan Anderson built at Loewe over 11 years was the kind of tenure that makes you wonder whether anyone should try to follow it. 

From Paula Rego collaborations to pixelated knitwear, his vision on how to steer cultural commentary was clear. Anderson repositioned the house entirely. That's a long shadow.

So when McCollough and Hernandez's first campaign dropped this week, we stopped mid sip and took it in.

No manifesto here, or making-of film. Just Talia Chetrit's photographs and the feeling that something had shifted, and that the shift was very deliberate. Poolside, sun-drenched and a cast shot with light that felt chosen. A warmth that reads specifically Spanish rather than aesthetically convenient.

Where Anderson was maximalist and cerebral, McCollough and Hernandez, it feels, are going sensory. 

What keeps sitting with us is the decision behind all of it. Two designers who built Proenza Schouler over two decades, walked away on their own terms, moved from New York to Paris and opened at one of LVMH's most culturally loaded houses like this. No throat-clearing needed. Just a clear point of view from the first frame.

At a moment when fashion is full of creative directors visibly negotiating with the legacy they've inherited, that kind of vision is worth raising a cup to.

We noticed. We're watching.

Strong shot. Good temperature.

Shot of the good stuff.