Jonathan Anderson proves that Dior can be true to its roots while also being open to something fresh and bold.

Jonathan Anderson&rsquo;s first Dior womenswear show was held in the Jardin des Tuileries, in an imposing yet unfettered show space designed by Luca Guadagnino and Stefano Baisi, serving as a reminder that that this was not about decoration, but about focus. Before the models appeared, a film reliving Dior&rsquo;s achievements set the scene. It was both a weight on Anderson&rsquo;s shoulders and a preview of what he planned to accomplish with that legacy.

Photo: Adrien Dirand

From the start, it was apparent Anderson wasn&rsquo;t looking for shock value. Anderson approached the Maison&rsquo;s most iconic pieces &ndash; the Bar jacket, Napoleonic tailoring, and the Cyclone dress &ndash; by adjusting them just enough to change perspective. Jackets bent in places that were not expected, skirts were cut sharply, and gowns folded into airy panels that moved with each step. As the collection notes explained, it was &ldquo;an idea of the past converses with the present, the bold with the calm, the grand with the commonplace.&rdquo;
The pacing of the show highlighted that contrast. Voluminous gowns flowed down the runway, giving way to knit capes and slim tailoring. A lace dress was reimagined in graphic detail. Shirts came with bow ties already stitched on, a subtle nod to formality made simple. Even the hats appeared to collapse in on themselves, echoing the notes description&nbsp;of &ldquo;hats implod[ing] into themselves.&rdquo;
In terms of accessories, they were precise rather than plentiful. Sculptural headpieces framed the appearance, and new purses were fitted with&nbsp;metallic handles. In a debut where overstatement could have been tempting, creative director&nbsp;chose discipline.
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Applause rippled as the models walked out for the finale, and the final ovation felt earned, not obligatory. It was less a cheer than an acknowledgment that Anderson had discovered a way to bear the Maison&rsquo;s heaviness without being weighed down by it.
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The notes described the process as &ldquo;boxing and unboxing history.&rdquo; That metaphor fits. Anderson treated the brand&rsquo;s past like a set of objects to handle, rearrange, and occasionally fold back away, letting them reappear when most effective. His debut was not about rewriting Dior but about resetting its beat.

In DIOR Spring/Summer 2026 Jonathan Anderson is balancing heritage with modernism

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