May 14, 2026 |
When guests entered the David Geffen Galleries at LACMA, which was set up as an illusion of Los Angeles, for Jonathan Anderson’s debut cruise 2027 show for Dior, they found a surprise on their seats. Instead of traditional show notes, there was a script – a fitting swap given that Hollywood held a special place in Christian Dior’s heart. The designer, who found his way to California in the 1940s, was enchanted with Hollywood dressing the likes of Marilyn Monroe, Ingrid Bergman, Grace Kelly and more. But one particular starlet stands out in the brand’s history, serving as the first lines of the script-meet-show notes. It recalled a pivotal moment in the brand’s history when Marlene Dietrich famously said, ‘No Dior, no Dietrich’ in response to Alfred Hitchcock and Warner Brothers‘ negotiations for her role in Stage Fright. That movie, alongside Les Enfants Terribles, served as the basis for Anderson’s collection.
Given the location, the celebrities turned out to support Anderson. Global ambassadors Jisoo from Blackpink and Anya Taylor-Joy made an appearance as did Greta Lee, who brought along her parents for the evening. Also in attendance was Macaulay Culkin, Steven Yeun, Al Pacino, Miley Cyrus, Jeff Goldblum, Lauren Hutton, to name a few of the stacked front row. But perhaps the most interesting star sighting was Sabrina Carpenter. Clad in a yellow drop waist dress embellished with rosettes around the hips, it was a spoiler of the show in plain sight – it turns out she was wearing the opening look of the collection.
Anderson has made it a point to draw across Dior’s rich history while also tying together his prior collections and imbuing his work with new references, that are specific to the location of each show. Cruise 2027 was no different. Following a trio of rosette adorned dresses came another iteration of the iconic Bar jacket. Tattered at the hem and worn with equally distressed jeans, it was a younger, more irreverent take on the traditionally buttoned up silhouette. A few models later, a bright orange dress, covered in poppies, emerged, as a nod to the flowers one would see in southern California during the spring.
From there the women’s looks segued into the men’s styles, with the first male model wearing a cape and suit that nodded towards Anderson’s prior menswear shows. On his head, a bespoke Philip Treacy headpiece that said “Dior”, which drew from the same techniques as Isabella Blow’s famous “Blow” hat. A later look, with its shimmering silver fabric recalled film strips while a wool coat featured stripes that nod to the shadows cast by Venetian blinds, yet another movie reference. Towards the end of the collection, a series of shirts, made in collaboration with artist Ed Ruscha, tied the night back to its modern art location.
As for the accessories, vintage American automobiles were a point of reference and inspired the brand’s Saddle bags complete with car paint surfaces and charms that resembled car keys. Anderson also teased a newsprint bag as well as a ladybug minaudière in the lead up to the show and followed it up with a nautilus-inspired evening clutch as well as floral and sequin shoes.
Consisting of 76 looks, it was a big, ambitious outing for Anderson. Nestled within the parade of models was a singular red dress, specifically slated for the end. A clever nod to Monsieur Dior’s penchant to put a look in that colour in the collection, it was a visual wake-up call. But by the looks of the finale parade and the response of guests, no one needed waking up, they were rapt.
Photography courtesy of Dior.
