Paris Fashion Week buzzed with anticipation for Jonathan Anderson’s debut Dior womenswear collection. The Northern Irish designer, already acclaimed for revitalizing Loewe, faced immense historical weight as he presented his vision for the iconic French house. Christian Dior’s 1947 ‘New Look’ revolutionized post-war fashion, and every successor is measured against this legacy. Anderson, now helming both Dior men’s and women’s lines, navigated this heritage with a collection that was a deliberate exploration of ideas rather than a singular, groundbreaking statement.
The show’s dramatic staging, featuring a colossal inverted pyramid and a rapid-fire montage of Dior’s iconic imagery, symbolized the complex relationship with heritage – fractured and dynamic. Anderson’s approach was not to dismantle but to reinterpret. Silhouettes were relaxed, almost defiantly so, accented by admiral visors and striking “double balloon” skirts that offered a modern twist on 18th-century panniers. Even the signature Bar jacket was deconstructed, with its peplum playfully shifted and its hourglass form rendered surreal.
While critics hoping for a clear, defining aesthetic might have been underwhelmed, Anderson’s collection offered a rich tapestry of references and meticulous craftsmanship. The luxurious fabrics and precise tailoring showcased Dior’s atelier prowess. The result is a Dior that feels alive with historical echoes, commercial potential in its separates and accessories, yet undeniably a work in progress. Anderson’s debut marks the beginning of a new chapter for Dior, signaling a thoughtful evolution rather than an immediate revolution.