"Jonathan Anderson knows what he's doing at Dior. When he talks like that about ideas - as he did backstage, about six hours before his sophomore menswear show for Autumn/Winter 2026 - he doesn't just mean ideas of clothes, ideas within clothes, but ideas in a wider sense. Ideas of how we can be, who we can be, ideas of the forms creativity can take in a 21st century whose breathtaking technological evolution is genuinely upending the way the human mind works."
"Across the Seine from Anderson's show venue, in the plush confines of Hôtel Le Bristol, the haute couture client Mouna Ayoub is selling ten-dozen of her Dior pieces, including John Galliano's radical rethinking of the maison in the 1990s, designs that collide Edwardiana with the nobility of Africa, or that controversially tore Dior to shreds in imitation (Celebration? Parody?) of the unhoused."
"It's early days - he hasn't even shown his first haute couture collection yet - but you get the sense that Anderson's tenure could be as radically transformative in the annals of the house as Galliano's, and as creatively rich. This collection was. The inspiration was the couturier Paul Poiret, who titled his autobiography King of Fashion (modest) and who Dior deeply admired, yet whose style could not, on face value, be any more different to hi"
Jonathan Anderson staged a radically transformative Dior Autumn/Winter 2026 menswear show driven by ideas about identity, creativity, and technological change. The presentation referenced wide-ranging concepts about who people can be and how creativity can manifest in the 21st century. The timing coincided with key Dior anniversaries and sat alongside high-profile couture sales that recalled John Galliano's past radical interventions. The collection drew inspiration from Paul Poiret and suggested a bold reimagining of Dior's aesthetic language. The show signaled the possibility of a creatively rich, potentially historic tenure for Anderson at the house.
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