See fashion show<\/a> From an opening curvilinear trio of dresses in topiary cone shapes to the silk petals that bedecked the final gowns and cyclamen silk earmuffs worn by most models, nature informed pretty much every passage.\u00a0<\/p>\n Stemming from a gift of a bunch of fresh cyclamens Anderson\u2019s British predecessor John Galliano<\/a> gave to the\u00a0Northern Irishman, becoming \u201cpoetic batons\u201d of the collection. So much so, the entire ceiling of the Dior show tent in the Mus\u00e9e Rodin was made of moss, and cyclamens. A few of whose petals began to dry and fall on the audience as the cast exited the silver runway.<\/p>\n And in remarkable moment, Galliano actually turned up at the show, 15 years after he was dismissed by the house.\u00a0\u201cIt\u2019s an honor to be here,\u201d commented John, in what felt like a symbolic passing of the couture baton.\u00a0<\/p>\n Throughout, Anderson combined silhouettes that flowed sinuously like leaves and petals, with the anthropomorphic shapes suggested by the ceramics of Magdalene Odundo.\u00a0\u00a0<\/p>\n \u201cEverything is about how you use nature as a raw material, like a feather. Or how you remake it, for example, with silk and brass, which is then powder coated. So, it’s about how you’re kind of looking at nature to understand how to reenact it, to re-learn from it,\u201d expounded Anderson in a morning, pre-show preview.<\/p>\n Nature has rarely appeared more abundant than at Jonathan Anderson\u2019s Dior. With some beautifully sculpted chess piece dresses in puckered chiffon flowers, which recalled to many eyes, not the Galliano era at Dior, but rather Raf Simons<\/a>.<\/p>\n Employing his occasionally surreal touch with striking new handbags: a silver mouse with chains; a ladybird minaudiere; or several clutches made like courgettes \u2013 albeit one in blue.<\/p>\n See fashion show<\/a> He also broke new ground with a series of fantastic knits \u2013 not traditionally a couture material. Sculptured, falling off the shoulder, knotted at the front, they all looked great and were a very welcome development.\u00a0<\/p>\n His use of feathers was audacious, including dyed cock feathers made into skirts that looked like right bright red sunsets. While his tailoring a striking blend of iconoclasm and tradition: making a back-to-front Bar jacket in silvery anthracite wool.\u00a0<\/p>\n Jonathan\u2019s love of miniature led to him incorporating ideas from two great, though somewhat obscure, 18th-century portraitists \u2013 Rosalba Carriera and John Smart<\/a> \u2013 into beautiful brooches that seem destined to become cult items.<\/p>\n That era rippled through the show \u2013 from the remarkable 18th-century trompe l\u2019oeil fabrics, woven on over 200-year-old looms all the way to the set. Every wall was made of worn and eroded mirrors.<\/p>\n See fashion show<\/a> \u201cI think France is all about mirrors, from the idea of fashion which is designed in front of mirrors to the Hall of Mirrors,\u201d laughed Anderson, red-eyed but far less exhausted looking from when he staged his debut Dior ready-to-wear show in October.\u00a0<\/p>\n Anderson may not have received completely unadorned reviews for his first collections, but he broke so much new ground that unanimity was unlikely. But he certainly injected momentum into the brand. Selfridges<\/a> revealed to FashionNetwork.com<\/a> that already this month, Dior\u2019s pop-up at the corner of Oxford Street<\/a> and Duke Street had broken all-time records for that 120 square-meter space. Coming in the first month that any of Anderson\u2019s creations have hit retail shelves.<\/p>\n In the end, this was a somewhat erratic performance but nonetheless a great fashion statement. Which the general public will be able to enjoy now, since Dior is staging an exhibition “Grammar of Forms” in the show-space in the museum\u2019s garden. Featuring Jonathan\u2019s haute couture designs in dialogue with iconic creations by Christian Dior and ceramic sculptures by Odundo. With a program that includes public talks and school tours, the exhibition seeks to demystify the world of couture and inspire the next generation to ensure its future.\u00a0<\/p>\n![\"Christian](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/09\/9804.jpg\")
Christian Dior – Spring-Summer2026 – Haute Couture – France – Paris – \u00a9Launchmetrics\/spotlight<\/p>\n![\"Christian](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/09\/d0bf.jpg\")
Christian Dior – Spring-Summer2026 – Haute Couture – France – Paris – \u00a9Launchmetrics\/spotlight<\/p>\n![\"Christian](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/09\/4309.jpg\")
Christian Dior – Spring-Summer2026 – Haute Couture – France – Paris – \u00a9Launchmetrics\/spotlight<\/p>\n
![\"Christian](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/09\/b424.jpg\")
Christian Dior – Spring-Summer2026 – Haute Couture – France – Paris – \u00a9Launchmetrics\/spotlight<\/p>\n