Dior Redefines Heritage Under Jonathan Anderson by Softening Archival Silhouettes

Dior presented its Spring/Summer 2027 women’s show on September 29, 2026, at Le Bassin Octogonal in the Jardin des Tuileries in Paris. Creative director Jonathan Anderson built the Paris Fashion Week collection around the wénwán walnut. In total, 65 looks walked a white runway laid across the basin. The walnut is a precise reference. According to the show notes, hand-rolling wénwán walnuts is a longstanding Chinese cultural tradition, and the nut’s patina reveals itself over time. “Coming across wénwán walnuts reminded me,” said Anderson, “of how we can find knowledge and preciousness in nature.” As a result, the collection feels patient rather than loud. Dior printed those notes as a calligram shaped like a walnut, in English and French. Its central line sets the tone: long before a tree spreads its branches to the sky, the nut holds the knowledge of its form. In other words, the archive is the seed. The notes add that the collection articulates archive pieces in new ways. The notes also frame the season as a set of questions. They ask what happens if tailleur is imagined as flou, how light a garment can be and whether lace can hold air. On the runway, those ideas move from transparency to opacity. Meanwhile, sharp jackets often sit open over skirts that seem to float. The fabric list follows the same brief. Dior names inlaid Chantilly lace, double duchess satin, silk mousseli

COMIN’ TO TOWN: Dior is celebrating the holidays at Harrods with a pop-up shop that will showcase the first cruise collection designed for the brand by Jonathan Anderson . The pop-up will showcase evening dresses and shearling coats from the womenswear collection and men’s suits with iridescent finishes, in addition to shoes, leather goods and accessories. Gifts such as card holders, charms, ornaments and candles will also be on offer at the pop-up, which opens on Nov. 6 and runs until Dec. 27. Anderson, who joined Dior as creative director last year, staged his first cruise show in Los Angeles in May. It was a love letter to Hollywood, and the power of dreams and illusion, and took place at the newly opened David Geffen Galleries at the Los Angeles County Museum of Art. The 75-look lineup of flowing women’s dresses, belted outerwear and new takes on the Bar jacket were mixed with men’s tailoring. Before the show, Anderson spoke repeatedly about cinema, imagining the collection as a cast of characters caught between fantasy and reality. The influence came partly from Christian Dior ’s own relationship with cinema in the 1950s, when the couturier dressed stars including Ava Gardner, Marilyn Monroe and Marlene Dietrich. Dior has a long history with Harrods , which began in 1953 when Christian Dior inaugurated a corner shop at the Knightsbridge store. A few months later, he chose

Jonathan Anderson brought his Dior woman more into focus for spring by blurring her edges into an impression of lightness. “It starts off with chiffon,” he said a couple of hours before his seventh women’s collection in a year fluttered its way along a runway across a pond in the middle of the Tuileries Garden. Despite being late September, it was still so baking in Paris that Dior had installed roller blinds and ceiling fans into its pristine veranda-style runway, plying the audience with mineral water while everyone prayed Rihanna would hurry up and arrive so that the show could go on. This vignette of the social scene that prevailed—while a Dior mist blew cinematically across the water—isn’t incidental. Design of all kinds, from architecture to city utilities and the clothes we wear, must adapt, fast, to how we’re going to live with the heating of the planet. And here were Anderson’s attractively logical solutions: softened, near-transparent translations of the tiny-waist, corseted Bar jackets and circle skirts with which Christian Dior founded his house in 1947. In those days femininity, retrenched after World War II, seemed to have a monolithic meaning. With this collection, Anderson literally saw through all of the heavy tweeds and melted away the whale-boned, corseted carapaces of Dior’s original silhouettes. He’d visibly begun this transparent tailoring experiment with

The fashion and indie film brands are coming together for a two-year creative partnership that will include film, theater and live events, with Dior as the premier partner for A24’s Cherry Lane Theatre Off-Broadway . The two will work together on a slate of programming featuring established as well as emerging talent, with works appearing on and off screen. The collaboration will also entail supporting students in the creative and practical sides of film and theater. The partnership was announced Thursday night at the West Village theater, which A24 bought in 2023 and reopened last year , with an evening that included a performance of Both Ends by Justin Vivian Bond, produced and directed by Zack Winokur, inspired by poet and playwright Edna St. Vincent Millay, one of the Cherry Lane Theatre’s founders. Guests in attendance Thursday included 070 Shake, Will Price, Alexa Chung, Grace Gummer, Emily Ratajkowski, Francesca Scorsese, Fai Khadra, Evan Ross Katz, Josh Safdie, Gray Sorrenti, Ester McGregor, Tom Sturridge, Sarita Choudhury, Ryan McGinley, Rei Ami, Recho Omondi, Nathan Fielder, Natalie Palamides, Murray Hill, Morgan Green, Milo Cramer, Mickey Sumner, Michelle Zauner, Marcos Fecchino, Lucy Freyer, Lance Oppenheim, Josh Silver, Hunter Harris, Peyton Dix, Hilton Als, Daniel Ezra, Cory Michael Smith, Antwaun Sargent, Annie Baker, Annie Hamilton, Mel Ottenberg, Sara Moonves,