There are preconceived notions about Jonathan Anderson’s work — across his last appointment at Loewe, his eponymous label and his high street collaboration with Uniqlo; alongside an equally ubiquitous perception about what Dior’s clothes should look like. Combine these two, and one would conjure an insurmountable expectation, all pent up from the industry’s insatiable thirst for newness, and recovering fatigue from all fashion’s recent musical chairs among creative directors. As the Maison was teasing Anderon’s debut Dior Summer 2026 collection, the clues were sporadic and elusive — portraits of Lee Radziwill and Jean-Michel Basquiat, four-leaf clovers and a metal frog pincushion, among others. One could infer elements of timelessness with an air of whimsy, at least.
Once the guests started arriving, we got the first glimpse of Anderson’s vision for Dior, clothing-wise. Men like Josh O’Connor and SEVENTEEN’s Mingyu Kim donned cotton shirts with collars flipped up on one end and ties that were haphazardly done, reminiscent of delinquent school boys who would have their uniforms wrinkled after a day of running amok. Denim and chinos pooled at their ankles, negating the idea that only precision begets sartorial sharpness. The modern prepster has never been a foreign concept within Anderson’s design codes — its many forms seen across his wide portfolio — but based on the guestlist, could Dior’s interpretation be the tamest one yet? And for all things considered, is there a need in the current landscape for another brand to deliver elevated basics, especially Dior?
Perhaps these looks on the carpet serve as mere context for the universe Anderson is building for Dior, a palate cleanser from the streetluxe, hyper-sharp impression that his predecessor, Kim Jones left behind. On a Bruce Springsteen track, the show began with his interpretation of the Bar Jacket and a voluminous pair of cargo shorts with billowing ruffles — directly referencing the 1948 Delft dress. In ways that everyday silhouettes are reimagined to the point of looking whimsical, Jonathan Anderson possesses the ability to subvert the banality of pairing cargo shorts with athletic socks and fisherman sandals into something romantic and regal. Once regarded as symbols of formality, ties are loosely worn to signal a youthful defiance, while bow ties are wrapped around the neck like a choker to conjure a more tender take on affluence.
What followed was a dizzying exploration into Dior’s trove of codes through Anderson’s lens. In its many directions, from Regency-era jackets and moire effect vests to floral embroidered cable knits, there is a curiosity towards the parameters of design, akin to a newborn familiarising itself with its immediate surroundings. Rather than recession indicators, as the Internet is quick to label, what Anderson proposes at Dior Summer 26 is a recession-ready romanticism instead — spot the simple, yet plush half-zip sweaters with its new embroidered logo and sneakers that are bound to the Maison’s bread and butter. Coming from the man infamously known for creating conversation-ready, collectable designs from realistic pigeon minaudieres to bar soap-for-heels, Dior’s emblematic Book Totes have now been updated with actual book covers, from Les Liaisons Dangereuses to Bram Stoker’s Dracula. Evident in the way art leads his moodboard, from the Jean Siméon Chardin paintings, the Lady Dior has been reimagined by artist Sheila Hicks into a playful bouquet of ponytails, urging a closer look.
In Dior’s universe, there is little need to justify what luxury means — a double-edged sword that allows the Maison to explore artistic nuances and subvert expectations, all the while facing scrutiny from naysayers as being capable of just “slapping on a logo” and getting away with it. New beginnings are oftentimes plagued with uncertainty, and with 9 more collections for Anderson to complete his first full cycle, the maestro surely has more tricks up his sleeve to usher in a new era at Dior.
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