Capes, tailcoats and cravats: Dior gets its teeth into Dracula chic
For the last few days Dior's new creative director Jonathan Anderson has been dropping clues on social media about the contents of his first collection for the fabled French house.
And the most eagerly awaited show of Paris Men's Fashion Week Friday certainly didn't disappoint, with a galaxy of stars descending on Les Invalides including "Bond" star Daniel Craig, Robert Pattinson, singer Sabrina Carpenter, tennis legend Roger Federer and K pop stars Mingyu and Beomgyu.
A heavily pregnant Rihanna -- for whom Anderson has made several stage costumes -- also arrived fashionably late with her husband ASAP Rocky.
Anderson had led fashion fans on a virtual version of Hansel and Gretel in the run up to the show, expertly teasing them with little peeks of what was in store for them when he finally lifted the curtain.
They included a Dior Book Tote emblazoned with "Dracula" in blood-red letters in a nod to Dublin writer Bram Stoker.
The gothic 19th-century inspiration was clear in the show, with capes, tailcoats and tweeds, waistcoats and Victorian high collars and cravats.
- 'Obsessed' -
"I've always been obsessed by Dracula," the designer told reporters. "I never realised when I was young that Bram Stoker was Irish and I used to walk past his house without knowing."
The show opened with a male take on one of Christian Dior's most iconic dresses, La Cigale from 1952, which was in turn inspired by the decadence of the 18th-century French royal court at the Palace of Versailles.
Anderson kept the aristocratic dandy theme going throughout the show, taking in Irish rakes and dashing English dukes, their dickie bows slightly askew after a long night on the tiles.
He had posted two rather endearing videos of French football star Killian Mbappe before the show putting on a tie and trying -- and laughingly failing -- to knot a dickie bow.
The designer said he saw some of the spirit of Christian Dior in the striker.
- Mbappe's 'amazing smile' -
"Mbappe has this amazing smile and a kindness to him," Anderson said. "Coming out of the war, the greatest attribute Dior had was empathy. That is quite rare in a couturier... (and yet) after the war he changed everything for everyone and for France."
Anderson told reporters before the show that he did not want to throw out the baby with the bathwater after being given unprecedented free rein over the brand.
"Some of my heroes, the greatest designers in history, have done Dior, and I don't want to be chopping it all down," he said.
Rather he wanted to "decode and recode Dior without discarding all the great designers" who had worked for the label.
Indeed, his "Dracula" and "Les Liaisons Dangereuses" Book Totes were a continuation of the "amazing bag" his predecessor Italian Maria Grazia Chiuri had done, he said.
The mixing up of clothing codes also had something of the Haitian-American artist Jean-Michel Basquiat, whom the designer had called an "epitome of style" in an Instagram post in the run-up to the show.
Anderson's arrival at Dior had been flagged for months after he turned around the rather fusty Spanish label Loewe, which is also owned by the French luxury giant LVMH.
Just weeks after he was named to head Dior Homme, he was also appointed creative director of the Dior's women's collections and its haute couture.
- Changing of the guard -
With the luxury sector's once bumper profits plummeting, Anderson's appointment is an attempt to renew the fashion house after nine years under Chiuri.
It also comes amid a major changing of the guard, with Belgian Matthieu Blazy, 41, taking over French rivals Chanel and iconic fashion editor Anna Wintour saying Thursday that she was stepping away from American Vogue to move upstairs in its parent group Conde Nast.
Anderson, the son of former Irish rugby captain Willie Anderson, said that change was maybe no bad thing.
"The fashion industry is like a bonsai that might have gotten too big. We need to purify, to go back to what we like about it, which is making clothes," he told the French daily Le Figaro.
Trained at the London School of Fashion, his first big break was landing a job in Prada's marketing department before launching his own brand, JW Anderson, in 2008.
"I think he is one of the most gifted talents of his generation," said Alice Feillard, men's buyer at Galeries Lafayette, Europe's biggest department store group.
"We saw what he achieved at Loewe -- a really remarkable and brilliant body of work."
"There is something childlike yet very intellectual" about his collections, Adrien Communier, fashion editor for GQ France, told AFP. They are "very cheeky, very bold... and really intriguing", he added.
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Business of Fashion
4 minutes 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. 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If Anthony Bridgerton time-traveled to 2025, what would he wear? What if Mr. Darcy lived in a Lower East Side loft instead of his Pemberley estate? How would Little Women's Laurie dress if he were a creative director nepo baby? The latest Dior Homme collection indicates that J.W. Anderson might have the answer. The Irish designer's highly anticipated first runway show as creative director for Christian Dior is finally here, debuting on June 27 at the Hôtel des Invalides during Paris Fashion Week for the Men's Spring/Summer 2026 season. And though we won't get to see his vision for womenswear until this fall, there are plenty of hints as to what's in store from the French fashion house's new era. According to a press release from the brand, the collection references 'history and affluence' as Dior design codes get updated for a new generation: 'Amid all the youthful spontaneity, style is paramount, allowing empathy to redefine elegance." The Dior Homme collection's first look says it all: Baggy cargo shorts with balloon-like proportions—capped off by tube socks and fisherman sandals—lent a summer in Bushwick aesthetic, while a 19th-century white necktie and high collar worthy of a Jane Austen drawing room brought a bit of bodice-ripping charm to the ensemble. It's Regency Era romance for the iPhone generation—and a fancifully modern introduction to the world of Dior, according to Jonathan Anderson. The Zoomer boyfriend meets Brontë sisters vibe didn't stop there. Fancy dress party vests (in pink, white, and even lavender) paired with army fatigues, cable knits, and boxing sneakers (laces untied, of course). A strong case for more brocade and tweed in fashion emerged. And it was easy to imagine a modern-day Heathcliff wandering the moors wearing Look 19's cropped jacket, ab-hinting tuxedo shirt, and tasseled loafers (looking at you, Jacob Elordi!). Also, the men wore capes—so many capes!—in every luxurious fabric and pattern imaginable. Anderson also lent a bit of prep flair to his new Dior with Ivy League touches. Jaunty suspenders, office blue oxfords, and even the dreaded Nantucket Red chinos made appearances on the runway. And perhaps most memorably, a pair of colorful sweaters draped over two models' shoulders, prompting the question: Who knew cable knit could be so sexy? It was an inspired debut from the genius behind Loewe's tomato and puzzle bag, and a promise of what's to come in the months ahead—soft boy summer, anyone? Whether the Regency Era references will continue at Anderson's womenswear debut in September remains to be seen. Although I think we can all agree that an empire waist dress by Anderson in the style of Elizabeth Bennet would fly off the shelves. Romance isn't dead, at least in the world of fashion. Read the original article on InStyle