Jonathan Anderson’s First Dior Cruise Show in L.A. Was a Blockbuster Success
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Guest written by Madhavi Singh
For his fourth collection for Dior, Jonathan Anderson turned to Los Angeles as the backdrop of the Cruise 2027 collection. A sort of homecoming for the house, which owes much of its success to Christian Dior’s long-standing relationship with Hollywood.
In his autobiography ‘Dior by Dior’, Christian Dior reveals what his first experience in the US was like. The year is 1955, and he was just nominated for an Oscar for Best Costume Design. While certain cities charmed him, Los Angeles failed to make much of an impression at first—though over time, the sun-soaked city certainly won him over. It’s ironic how a place that couldn't initially impress Christian Dior would go on to play a significant role in shaping the success of the house. Decades later, Anderson brings Dior back to where it all started—a place where every woman yearned to become a Dior Woman.
Inspired by the rich history in Hollywood
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This collection was a dialogue between Dior and Cinema. Dressing Hollywood icons like Elizabeth Taylor, Audrey Hepburn, Grace Kelly, and Marlene Dietrich, to name a few, helped put Dior on the map early on. In the aftermath of World War II, it was in design and beauty that Christian Dior found an escape, a means of survival. In 1949, just three years after Dior was founded, actress Marlene Dietrich included a non-negotiable in her film contract for Alfred Hitchcock’s movie Stage Freight: “No Dior, no Dietrich,” which became a significant reference for the collection.
Set, script, popcorn, and ACTION!
Jonathan Anderson may be new to Couture, but he is a master storyteller and an even better host. Upon arrival, guests were transported to the 1950s via a drive-thru set at the Charlie Chaplin Studios. Vintage Cadillacs lined up one after another, and food like caviar, hot dogs, and popcorn were served as guests were led to the LACMA (Los Angeles County Museum of Art) venue—something that looked straight out of an Alfred Hitchcock film. The show notes sat before the guests did, printed like a movie script titled ‘Wilshire Boulevard’. Inside, Anderson mentioned the key references to the collection, including actress Marlene Dietrich, California poppy, and Hollywood—the dream factory. As the show began, one could feel the Hollywood glam in the dresses, the drama in the accessories, and the California breeze in the fabrics. Anderson didn’t miss his take on the ‘New Look’ as well, reimagining Dior’s signature hourglass silhouette with a frayed hem this time.
Past, Present, and Future
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It wouldn’t be right to have a discussion about theatre and not mention John Galliano, who served as Dior’s Creative Director from 1997 to 2011. Galliano is known for some of the more theatrical and controversial collections that came out of Dior during his tenure. Take the iconic Carrie Bradshaw newspaper dress, for example. Anderson incorporated the print this time on a bag for his Cruise 2027 collection.
Another stand-out piece was the grey wool coat, which looked to have permanent shadows printed on the mantel—a sort of imitation of lights seeping past venetian blinds. Movie fanatics would instantly recognize this as a lightning technique used in many of Hitchcock’s movies. Red florals were frequently used in various shapes and sizes, too, depicting California’s poppy in full bloom.
With this being Anderson’s fourth collection for the house, we begin to see and understand more of his own vision and tastes that would surely define his era at the house. The shirts were created in collaboration with the LA artist Ed Musch, depicting his signature iconography. Models, adorned in hats designed in collaboration with hat designer Philip Treacy, were specifically inspired by fashion editor Isabella Blow’s hat (a mentor to Treacy). Anderson also wanted to redo denim, adding silver chains and a ripped jean effect in collaboration with his Japanese denim supplier.
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While the makeup and hair remained minimal, manicurist Ama Quashie really nailed it with the tortoiseshell and newspaper nails. And—leaving the best for last—the bags!! We saw a new interpretation of the Medallion bag, which was initially inspired by Christian Dior’s boutique chairs. A few whimsical designs, like snail, bee, and ladybug bags joined the runway as well—a new take on Anderson’s Pigeon clutch.
Jonathan Anderson didn't just transfer historical references onto the garments. He recreated a picture of the Hollywood dream that people wanted to escape to, and we, the viewers, are eager to follow him into that wonderland.
