The bottom of the page carries the addresses. Madrid, Barcelona, Bilbao, San Sebastián, Zaragoza, Valencia, Sevilla, Granada, Palma de Mallorca and Las Palmas de Gran Canaria, then Londres, New York, Tokio, Hong Kong, Singapore, set in small caps under the four-L anagram and the words Madrid 1846. Ten Spanish cities and five that aren't, the foreign ones spelled for a Spanish reader. A printer's legal deposit number down the gutter dates the sheet to 1988.

That date tells you more than the 1846 does. In 1984 Louis Urvois and Gian Luca Spinola bought the majority of Loewe's shares. In 1986 LVMH bought the rights to its international distribution. Through the same decade the womenswear was designed by Giorgio Armani and Laura Biagiotti. So the Spanish leather house selling itself in these pages was majority-owned outside the family, distributed abroad by a French group, and dressed by two Italians. It had been in Hong Kong since 1976 and New York since 1983, and the Japanese money that was about to reorganise European luxury was arriving while the campaign ran. Enrique Loewe Lynch set up the Loewe Foundation that same year, poetry prize included.

The pictures were made to travel too. Peter Lindbergh photographed Yasmin Le Bon for Loewe from autumn/winter 1987 through autumn/winter 1991, season after season, and the pages print like contact sheets rather than advertisements: the film's ragged edge and sprocket holes left in, the copy cut back to LOEWE and the season in Spanish. Almost all of it is black and white. This frame isn't. She's at a café table with the water glass going soft behind her hand, in a black jacket with a stiff white collar and cuffs, chin propped, watching something off to the left. The identical shot sits in the archive in monochrome, labelled 88-89. Two versions of one negative, and I can't tell you which title got which.

Then look at who is in it. Le Bon was born in Oxford to an Iranian father and an English mother, had shot Guess the year before, and carried a surname half of Europe could hum. Lindbergh was German. The streets in the rest of the run read as Paris. Nothing in these pages is Spanish except the leather and the word colección, which sits oddly against a footer insisting on ten Spanish cities. She was doing the same job elsewhere that autumn: on page 72 of American Vogue for October 1988 she supplied an imported Englishness to a Canadian label with no claim on it either.

One page in the run breaks the pattern and is the most interesting thing in it. No model, no street: a tight crop of a short leather jacket, the anagram embroidered onto a napa glove, and four lines of Spanish product copy about velvet buttons and a matelassé collar. Chaqueta corta de inspiración austriaca. The single page that sells the making of the thing describes it as Austrian.

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