2 October 2025 |
Jonathan Anderson’s much anticipated womenswear debut did not disappoint.
Paris Fashion Week’s golden ticket came not in an envelope but instead as a porcelain plate, covered with a smattering of walnuts and chestnuts. Jonathan Anderson’s Dior womenswear debut has arrived after months of teasers in the form of red carpet dresses worn by the likes of house ambassadors Anya Taylor-Joy and Greta Lee. As one of the season’s most anticipated shows there was a lot riding on the line. And Anderson did not disappoint, drawing from the rich heritage of the house while propelling it forward to introduce Dior to an entirely new generation.
In the show notes Anderson talked about his momentous undertaking, noting that he had to approach the past with a sense of empathy, taking what he needed without dwelling. That sensitivity was evident from the get go. Held at the Tuileries, a venue that’s become synonymous with Dior runway shows, at the center of the space was an inverted pyramid. Before the presentation began, a short film was played on it and highlighted past creative directors from Monsieur Dior to Yves Saint Laurent to John Galliano to Raf Simons to Maria Grazia Chiuri. It was thoughtful acknowledgement that today would not have happened were it not for the work of his predecessors. But nostalgia was never Anderson’s plan — instead he presented a 75 look collection that took key silhouettes and remixed them with youthful flair as well as a touch of humor.
Opening with a tea length gown adorned with an asymmetric bow and finished off with bunny eared pumps, it was clear that Anderson’s vision of the Dior woman was feminine without being saccharine. From there came looks that gave a new twist on one of the brand’s most recognizable silhouettes: the Bar jacket. Like the men’s show, it riffed on the idea of Monsieur Dior’s New Look, swapping the calf grazing skirt for a youthful jutting mini. Another series of skirts that followed featured a twisted bow, a reference to a 1954 haute couture design with the same detail. Junon, quite possibly one of the world’s most famous couture pieces, was given new life, as with the beaded petals of the sweeping gown transformed into the short, flirty number more suited for the club than a ball.
Speaking of the men’s show, there was a dialogue between the two as silhouettes overlapped. The bow tied shirts made an appearance here as did the baggy cargo shorts with pleated detailing that drew from the Delft dress. Reimagined on denim mini skirts, you could easily see how it would appeal to a Y2K-obsessed Gen Z-er with money to spend. Of course, the trickiest challenge was appealing to this new customer base without alienating the classic Dior client. Anderson handled that masterfully, with draped blouses and twisted and tucked coats that feel familiar yet fresh.
Accessories arguably are as important, if not more so for Dior. Atop certain looks were trianon hats by Stephen Jones that nodded to Galliano. That said, the bags and shoes were all Anderson. His footwear designer, Nina Christen, posted an Instagram carousel prior to the show featuring delicate sandals adorned with bows that Anderson described to Loic Prigent as “very bourgeois” There were the aforementioned bunny heels along with flat loafers, designed to be shaped like the letter D. As for the bags, fans will find plenty to covet from slouchy hobos that evolved the Lady Dior silhouette to handheld clutches with necklace-like gold straps to structured styles, held together by a girlish bow. Anderson ended his show notes with the words: Change is inevitable. And while most fear change, this new vision brings little fear and plenty of excitement.
dior.com
