If there was one theme running through many of the best works, it was this celebration of unique cultural identities and how they’re expressed in the form of craft. This felt like a timely reminder of the global scope of the project and the vast array of countries from which this year’s finalists hailed, at a moment when many countries seem to be shrinking back from the close international ties forged over the past century. More than anything overtly political, though, the prize served as a reminder of the thrill and fascination to be found in discovering new aesthetic traditions from around the world, and meeting the makers bringing that heritage into the present day. As Loewe herself put it: “This edition has very beautiful examples of pieces that are about taking an ancient technique and updating it. We want to have old skills that, with innovation, are updated and speak to the future of craft.”

After a day of wandering through the exhibition and speaking to the finalists, the Loewe crowd returned on a perfectly balmy Madrid evening to the Thyssen-Bornemisza for champagne and passed-around bowls of jamon croquetas. McCullough and Hernandez made a low-key entrance to watch the ceremony, while many core members of the Loewe front-row gang—including Ayo Edebiri, Lesley Manville, Murray Bartlett, and Alison Oliver—caught up over cocktails and exchanged notes on their favorite pieces.

Just after 9 p.m., the jury took to the stage to hand out this year’s prizes: First, the special mentions to Marcus-Bello and Singh by Meg Ryan, and finally, the Alex Brogden-designed silver trophy to Aoki by Pedro Almodóvar. “The artists in this exhibition represent a continuing need to remain curious,” the legendary Spanish director told the crowd. “I urge you all to slow down and spend time with the works. Now is the moment.”