Show review in a sentence: A meeting point of past and present
Designer: Jonathan Anderson
Location: Jardin des Tuileries, Paris
The vibe: Fashion critics are in a frenzy, dissecting every possible clue about where Jonathan Anderson is steering his first womenswear debut at Dior—LVMH’s second most prized brand. From restoring the logo to its original 1948 form, to drawing lukewarm reactions with recent red-carpet outings (cue Alba Rohrwacher’s much-debated “booty dress”), the speculation has been relentless. Then came a string of online teasers: a playful Lady Dior covered entirely in clover with a single ladybug—a talismanic house code alongside a ’50s-inspired slingback. And this morning? Bam! An unexpected stack of rings in agate, turquoise and malachite, almost signalling an all-department activation.
An inverted pyramid—yet another nod to Dior’s fascination with geometry, the occult and symbolism, commanded the stage as guests were hurried to their seats. As anticipation mounted, the room fell into darkness before erupting into a graphic lightshow: a rapid-fire sprint through Dior’s most spectacular moments—a film created by British documentary filmmaker Adam Curtis, as if straight from the mind of Anderson. There was Monsieur Dior himself, holding up a jacket. There was Galliano. There was horror, suspense and Raf Simons. Then, in an instant, the space illuminated into a blinding white.
The vision: The first model emerged in a white, micro-pleated cocoon dress—a clear echo of Simons’ tenure at the maison before the narrative shifted. Checked shirts and skirt combinations built momentum until the show burst into full-blown theatrics reminiscent of Galliano’s fantastical Dior: tricorn hats, 18th-century aristocrats and the garden nymphs of 2005.
Yet through Anderson’s lens, these references felt entirely new, reframed against modern staples: denim jeans, waistcoats, tuxedo shirts, cargo skirts (with a cheeky Delft dress inspo tucked at the back for good measure) and delicious two-tone loafers. The Bar jacket, you ask? Cropped above the hips with a split open back that felt new and revitalised, and dare I say, very desirable.
What to shop from this collection: I’ve always believed in buying at least one piece from the debut season of a newly appointed designer—almost like a keepsake. But this time, the decision feels daunting, simply because the offerings are aplenty. Take the new Bar jacket (look 13): just when you thought it couldn’t get any better, Anderson cropped it just above the hips, instantly injecting a youthful, modern energy. Then there are the olive cargo minis with their iconic Delft-inspired ruffles (look 45), striking that perfect balance between archival nods and effortless wearability. And of course, no Anderson show would be complete without its offbeat accessories. This season’s clunky moccasins finished with a gold cut-out “Dior” in mock croc alongside a relaxed suede Lady Dior in cacao, easily seals the deal for me (look 25).
1 / 13
Look 1
2 / 13
Look 5
3 / 13
Look 7
4 / 13
Look 9
5 / 13
Look 11
6 / 13
Look 13
7 / 13
Look 18
8 / 13
Look 22
9 / 13
Look 25
10 / 13
Look 31
11 / 13
Look 33
12 / 13
Look 45
13 / 13
