Jonathan Anderson Presents a Cinematic First Cruise Collection for Dior
On the evening of May 13, the Los Angeles County Museum of Art took on the feel of a scene from a moody, dramatic film in honor of creative director Jonathan Anderson’s first Dior Cruise collection. The Brutalist-inspired concrete space—recently redone by Swiss Pritzker Prize–winning architect Peter Zumthor—was filled with graphic shadows, vintage cars, and antique-style lamps. Even the show notes were written in the style of a thrilling movie script: “Alfred Hitchcock and Warner Bros. executives are in the midst of negotiations with Marlene Dietrich,” they read. “She must wear Dior on screen.” (“No Dior, no Dietrich!” the creative director imagined as his star’s opening line.) On the runway, models wound through the space wearing flowering fabrics and tailored sets from Anderson’s newly formed Dior—colorful embellished gowns, fresh takes on the Bar jacket, and pieces that shimmered and dazzled under the lights of Hollywood.
Drop-waist silhouettes dominated, as did nods to Dietrich via pops of red. Anderson did three riffs of sheer, flowing, rosette-adorned gowns in royal purple, charcoal, and daffodil yellow (Sabrina Carpenter wore the latter while sitting front-row). Floor-length slipdresses dripped with floral appliqués, gowns came heavily accented with flower-shaped paillettes, and fabric was sculpted into petals on many of the frocks. The same technique was brought to life on sculptural scarfs and detailed trims, which had lifelike, wearable gardens that visibly bloomed.
The Y2K effect is also still in full force, as Anderson referenced some of John Galliano’s most well-loved designs. The infamous newspaper print was reissued on chunky clutches and the Dior Cadillac Bag—first introduced for spring 2001—was also reinterpreted. Alongside rhinestone-studded mini saddle bags that, at first glance, could have been from Galliano’s generation, some of the models carried more than one purse. Ladybug and bumblebee minaudières were cozied up with leather totes, while music from the French electronic ambient band Air played in the background. The reigning jewelry of the evening was an asymmetric pair of earrings with a huge crystal stud on one side and an extra-long, dangling chainmail style on the other.
One of the most special parts of the show came in the form of hats. Philip Treacy created Isabella Blow–style wordplay headpieces that looked like they were made of weightless feathers. Some spelled out “Buzz,” or “Star,” and, of course, “Dior.” Button-down shirts were printed with the slogan, “Says I, to myself, says I”—a reference to Ed Ruscha’s recent paintings (and a potential nod toward Anderson’s Northern Irish heritage via the Derry Girls character Uncle Colm, who often says the phrase). The collection had everything fit for an L.A. debut: sparkle, drama, and all the bouquets.
