Show review in a sentence: Jonathan Anderson merges French allure with Hollywood glamour in a collection that feels both timeless and sharply modern.
Designer: Jonathan Anderson
Location: Los Angeles County Museum of Art (LACMA)
How do you encapsulate one of the most prodigious fashion houses in one of the world’s most iconic cities? Jonathan Anderson seems to know exactly how. Celebrating Christian Dior’s long-standing relationship with cinema, a connection that dates back to his 1942 nomination for Le Lit à Colonnes, Anderson reimagines the Dior dream for a different kind of star in Los Angeles.
Marking his first cruise and co-ed show for Dior, the collection felt like a fresh chapter for the house. Where Dior once dressed the silver-screen legends from Marlene Dietrich to Grace Kelly, Anderson taps into a distinctly modern fantasy. Of course, distilling these two distinct visions is no easy feat, especially within the context of 2026, where modernity can dissipate in a matter of seconds. Yet this collection brings that duality to life with remarkable precision. Dietrich serves as a pivotal starting point, both in spirit and silhouette, while key elements throughout the collection feel undeniably developed.
Anderson’s signature freshness runs through the collection with Californian poppies, a reimagined Saddle Bag inspired by vintage American cars which nods to the distinct Cadillac bag from John Galliano’s spring/summer 2001 collection and even the audacious inclusion of Isabella Blow’s legendary feathered Blow Hat dreamed up by Philip Treacy, woven into the narrative. The starting point of Dietrich showed up in a white jacket inspired by Hitchcock’s Stage Fright.
And of course, no exploration of Americana would be complete without denim. Here, it arrived as a deliberate palette cleanser. Ripped jeans draped with silver chains felt provocative, almost rebellious, before Anderson sharply shifted the mood with a striking red dress, a styling trick he says he learned from Dior himself to “wake people up.”
And awake we were. In Anderson’s hands, it is a very difficult collision of old Hollywood glamour and restless modernity, polished yet daring at every turn.
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