Sabrina Carpenter Bids Farewell To Her Signature Curtain Bangs - And Signals A New Preppy Look
There are likely a few things that spring to mind on the topic of Sabrina Carpenter this summer. Perhaps you are already humming the tune to the singer's new brainworm, 'Manchild', which is fast cementing itself as the single of summer '25. Maybe you cast your mind to her trademark make-up routine, which is centred around a classic overlined lip and, more recently, the viral Prada banana balm. Or, most likely, you think of her signature curtain bangs and bombshell waves which have, until now, defined the singer's aesthetic.
As she stepped out in Paris for the Dior Homme spring/summer 2026 show, however, Carpenter it seems had eschewed her classic sweeping fringe hairstyle and embraced an altogether new look. Gone were the wide curls for which she is now synonymous and in their place she wore her lengths in a vintage-inspired side parting which was clipped in place with a tortoiseshell barrette and soft, subtle waves sweeping beneath. This hairstyle was certainly a departure from her voluminous waves and
Taking a break from her current Short n' Sweet Tour, Carpenter - a muse of the brand - attended what marked the debut of Jonathan Anderson's helm at Dior. For the occasion, the singer wore an uncharacteristically conservative yet chic ensemble which complemented her new beauty aesthetic. The grey wool blazer is instantly recognisable as the Monsieur Dior's legendary Bar jacket, and was paired with a pleated skirt and peep-toe shoes.
Musicians have used their sartorial choices and beauty routines to hint at new albums, potential tours or send messages to eagle-eyed fans since the dawn of social media. Could this new dramatic transformation signal a departure from the sensual lyrics of 'Espresso' and 'Taste' and into a new musical realm? Perhaps. Or maybe the singer is simply embracing a preppier wardrobe and hairstyle as we hit peak-summer. Whatever the motive, Carpenter's new look is serving serious summer hair and style inspiration.
ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.
Amelia Bell is the Multiplatform Beauty Director for ELLE UK and Harper's Bazaar, developing beauty strategy, writing, editing, and commissioning, and leading beauty content across both sites. Amelia has a particular interest in wellness and longevity, exploring the skin-mind connection, and decoding the latest treatments, tweakments and runway trends. She also has bylines for Women's Health, Refinery29, British Vogue, Harrods Magazine, and more.
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3 hours ago
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Jonathan Anderson's Dior Debut Draws Daniel Craig, Robert Pattinson, TXT and Rihanna
JUST THE TICKET: Jonathan Anderson's debut at Dior was the hottest ticket in town — and that's saying something when temps are hitting the hundred-degree mark. There was rare AC in the venue; never mind that it was installed to protect the artworks on display in the museum-like set. But either way, it benefited the audience. Some stars have perfected the art of arriving 'fashionably' late (see Beyoncé Knowles-Carter at Louis Vuitton), Rihanna and A$AP Rocky among them. Their entrance caused a commotion when the doors reopened for the couple and sent guests into a frenzy. More from WWD Sabrina Carpenter Goes Classic in Pleated Skirt and Satin Peep-toe Louboutin Pumps Dior Homme's Spring 2026 Show Summer 2025 Fashion: City Escape Lauren Sánchez Has an Audrey Hepburn Style Moment on Her Wedding Day Robert Pattinson admitted he had a preview of the collection the day before the show. 'I've known Jonathan for years, so I'm really happy for him,' he said. Even though he's been to many shows, Pattinson, a Dior brand ambassador for 14 years, expressed his excitement for the energy surrounding fashion week. 'I love the entire process,' he added. Pattinson also shared that he'll begin shooting the next 'Batman' film next year. 'The costume is iconic,' he said, though he noted it wouldn't be making an appearance at fashion week. Instead, he praised Anderson's new collection. Many looks were anchored with Regency-style collars, cravats and capes, alongside modern knitwear and jeans. 'It's all super wearable, which is great and exciting,' Pattinson declared. Mike Feist was deep in discussion with Joe Alwyn and Alison Oliver. Turning the tables during a chat with WWD, Feist grabbed the mic and played reporter, asking Oliver what she thought of the show. 'I'm delighted and very warm, but I have no intention of taking this jacket off,' she said, referring to her Dior look adorned with military-style buttons. Feist, who previously told WWD in Cannes that he's 'not a fashion guy,' kept his look casual and was there to support Anderson. 'I'm a big fan of him. We're good friends,' he said. Currently taking a break from film to focus on writing a screenplay, Feist said that he's preparing to return to the stage in a new play. 'I'm feeling very Sgt. Pepper,' said Drew Starkey, referencing his military-inspired jacket. The British actor is another longtime friend of Anderson's. 'He's one of the hardest-working people I've ever met — and one of my favorite people. This is well deserved,' he said. Starkey recently wrapped 'Onslaught' with Rebecca Hall and Dan Stevens but remained completely tight-lipped about the project. Instead, he revealed that he flew in for the show during a quick break from filming the next season of 'Outer Banks' in South Carolina, where production will continue for seven months. He also had a front-row reunion with his 'Queer' costar Daniel Craig. Craig joked that he didn't have anything intelligent to say about fashion but was seen chatting with Soobin, Yeonjun, Beomgyu and Taehyun — four out of five members of Tomorrow x Together who attended the show (Heuningkai was absent). Craig asked about their recent tour, music-making and writing process before posing for photos with both the group and Pattinson. With Anderson's Dior debut being the hottest ticket in town, many fellow designers came out in support. Jack McCollough and Lazaro Hernandez, recently named as Anderson's successors at Loewe, were enthusiastic about being there. 'We're big fans of him,' Hernandez said. 'We have a lot of love for him.' The duo said they're settling in well. 'We're having so much fun. I don't know how else to describe it. Everything feels possible — it's a dream.' However, they admitted they're still adjusting to Paris. 'We're really just between the office and home, not going out much. We're focused on the job. September will be the big one,' Hernandez added of their upcoming debut at the other LVMH Moët Hennessy Louis Vuitton-owned house. Donatella Versace, seated front row, was there for Anderson's big moment. 'For me, I'm so emotional because I worked with Jonathan when he was very young. We did the Versus show together,' she recalled of the 2013 collection. 'So, you know, I consider him like my little baby now.' The show also brought out fashion's best in class. Former Dior Homme artistic director Kris Van Assche, Courrèges' Nicolas Di Felice, Silvia Venturini Fendi, Rabanne's Julien Dossena, Jacquemus designer Simon Porte Jacquemus, newly-apponted Balenciaga creative director Pierpaolo Piccioli, Stefano Pilati, and Louis Vuitton Men's artistic director Pharrell Williams were just a few of the many notable creatives in the crowd. 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Jonathan Anderson on Building His Dior World, One Show at a Time
PARIS — 'You cannot rebuild a house in one show. It's impossible. You'd have to be like Christ,' Jonathan Anderson said on the eve of unveiling his debut collection as creative director of Dior. It was the Irish designer's attempt to manage expectations ahead of the most highly anticipated event of the Paris men's collections, and one of the most closely scrutinized designer debuts in a year of unprecedented creative upheaval at leading luxury houses. More from WWD Sabrina Carpenter Goes Classic in Pleated Skirt and Satin Peep-toe Louboutin Pumps Dior Homme's Spring 2026 Show Jonathan Anderson's Dior Debut Draws Daniel Craig, Robert Pattinson, TXT and Rihanna Summer 2025 Fashion: City Escape Since Bernard Arnault, chairman and chief executive officer of Dior parent company LVMH Moët Hennessy Louis Vuitton, offhandedly confirmed his appointment as creative director of Dior menswear at the group's annual general meeting in April, the pressure has been building on Anderson, fresh off a stellar decade at smaller stablemate Loewe. Last month, the house confirmed he would also be in charge of women's collections and haute couture, making him the first designer since founder Christian Dior to have full purview over the house. His appointment coincides with a general slowdown in spending on luxury goods, which has seen Dior lag the rest of LVMH's fashion and leather goods division amid consumer pushback against a rash of post-pandemic price increases. Anderson and Delphine Arnault, chairman and CEO of Christian Dior Couture, are on a mission to fix this. The designer cautioned that fashion critics, and shareholders, will have to settle in for the ride. 'It's going to take five collections to break the cycle of it, and then you can kind of birth out a vision from it,' he said in an interview. 'So for me, it is a process of decoding the brand, and then from that, we hope to end up with a solution.' Though he's long been touted as a rising star in the LVMH firmament, Anderson admitted he had not pictured himself in the hot seat at Dior, the founding brand and crown jewel of Bernard Arnault's luxury empire. 'I would never have imagined five years ago that I would be here. So I'm trying to kind of go back to, 'What is Christian Dior?'' he said. 'I didn't know much about Dior, so in a weird way, it's a little like doing a Ph.D. You're going in and trying to absorb it and then reconfigure it.' Starting with menswear felt like a perfect entry point for Anderson, who launched his eponymous JW Anderson label as a men's line in 2008. 'I've always started with men's. I started with men's in my own brand, I started with men's at Loewe. I'm kind of a creature of habit and slightly superstitious, which Dior was as well,' he remarked. He teased his vision with a campaign featuring Andy Warhol's Polaroids of two cultural icons, Lee Radziwill and Jean-Michel Basquiat, and a couple of videos starring soccer player and Dior brand ambassador Kylian Mbappé. The idea was to project an attitude that will then filter into the nitty-gritty of new ready-to-wear and accessories collections. 'It's about style. Christian Dior, the man himself, was more about archetype,' he explained, noting Dior's proficiency at churning out architecturally inspired silhouettes. In addition to the Bar jacket, which famously launched the New Look in 1947, Anderson pinned three archival dresses on his men's mood board for spring 2026: the Caprice, the Cigale and the Delft. 'You could probably get a show out of each of these looks, because they were radical in their moment,' he mused. The 40-year-old was also inspired by Dior's world-building skills. 'For me, what makes Dior himself unique is that I think he has got huge amounts of empathy,' he noted. From the beginning, the founding couturier worked with decorator Victor Grandpierre to establish key house codes including its signature colors — gray and pink — and the Louis XVI chair. In addition to decorating the label's headquarters on Avenue Montaigne, Grandpierre designed the displays and packaging of iconic perfumes such as Miss Dior. Dior's obsession with the 18th century chimed with Anderson, who took it as a cue to explore historic menswear pieces, including a collection of 23 waistcoats, some of which he replicated for the show — an idea he credited to another design icon, Martin Margiela, and linked to the capabilities of Dior's haute couture workshop. 'On the first day being introduced to the couture team, it was really fascinating that some customers still today order looks from the '50s, and we make them for them still, which I think is remarkable,' he said. 'For me, that just shows you the power of the brand.' He's keen to embrace the history of the house, including the contributions of his predecessors. In addition to Dior, the women's side has been helmed by Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri, with Hedi Slimane, Kris Van Assche and Kim Jones steering the men's division since the new millennium. 'When you go into a house like Dior, which is so famous — taxi drivers know it, everyone knows it — I think you have to not be afraid of the past,' Anderson said. 'People want history from a brand that has history, but they want it reinvented.' That's why he's embraced Chiuri's bestselling Book Tote, offering his own take with versions that reprise the cover of 'Dior by Dior,' Christian Dior's autobiography; Irish author Bram Stoker's 'Dracula,' and an 18th-century classic, 'Dangerous Liaisons' by Choderlos de Laclos. 'I don't want to evaporate what every single person has contributed to this brand,' Anderson explained. 'It's not efficient, and it's just not respectful.' Revisiting the Bar jacket was almost a rite of passage. Anderson has kissed the ring by making it the opening look of his show. 'It's something that Dior has barked on about for probably too long, but I do think it is probably one of the most genius pieces of clothing, because ultimately it is taken from men's and it is reconfigured every time a designer comes in, which is kind of interesting, because it's not a bag,' he said. Still, he doesn't believe in being too reverential, nothing that the scale of Dior means he must speak to a large cross-section of potential consumers. Under Chiuri and Jones, the brand's sales quadrupled from 2.2 billion euros in 2017 to 8.7 billion euros in 2024, according to HSBC estimates. LVMH does not break out revenues by brand. 'It's a difficult balance, because the brand is bigger than it was 20 years ago, it is very democratic,' Anderson remarked. 'I'm trying to juggle this thing, which is, how do you give style, attitude and fashion? How do you give the classicism? And at the same time, how do you give, like, where the world is?' Some trial and error will be involved, but he's willing to take risks. 'It takes time to ultimately reject things within the brand through experiencing them,' he said. 'Being in a historical house, there has to be a respect for it, but at the same time, you have to be willing to challenge it, because if Dior had been alive today, he would have designed completely differently.' To those who have speculated how he will juggle double duty at Dior with his own brand and ongoing collaboration with Japanese fast-fashion giant Uniqlo, Anderson had a simple message: no, he will not be designing 18 collections a year, as some memes have suggested. Instead, he will focus on around eight Dior lines per year, between ready-to-wear, haute couture and pre-collections. 'Of course, I was not going to be doing four at my own brand, or at some point we were doing six, because there's no modernity, plus that people would just hate me after a while. 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6 hours ago
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Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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