Jonathan Anderson Finally Stops Borrowing Dior's Archive and Starts Writing His Own

Dior closed out Paris Fashion Week with Jonathan Anderson's clearest statement yet about what his Dior actually looks like, built almost entirely out of air. The collection leaned on lace, silk mousseline, and organza to create fluid, nearly weightless silhouettes, with layered pleats, asymmetric florals, voluminous hemlines, and an evolved take on last season's tutus. Cropped, flower-shaped proportions showed up alongside long scarves and cascading earrings, and the iridescent, draped fabrics carried the collection's lightest moments.

New accessories arrived alongside the clothes, including a Dior Bow Sandal and a Cigale shoe with a petal-shaped sole, plus updates to the Double, Initial Hobo, and biker-inspired Cannage bags, which matters for a house that sells handbags in volumes most ready-to-wear lines can only dream of. The show read as a departure from the historical name-checking that defined Anderson's early seasons, toward what critics are calling "its own unmistakable language."

That is the quiet story inside the louder one: Anderson has had the Dior job long enough that the honeymoon period of archive references is ending, and what replaces it will either define his tenure or get measured against it for the rest of his run.

Source: The National

Kyle Duford, Founder & Editor, BRNDWIRE. More from Kyle →