What will Jonathan Anderson bring to Dior as new creative director?

Euronews

08-06-2025

The world of football makes regular headlines for huge money-spinning transfers as fans eagerly anticipate what wonders players will bring to their team.
This week has seen one of the biggest moves in the fashion business with the iconic French maison Dior now hoping Jonathan Anderson will liberally sprinkle his magic dust about its men's and women's collections to boost its fortunes.
For almost a decade, the Northern Irish designer led the LVMH-owned Spanish fashion house Loewe – an unmitigated success story, increasing the brand's annual revenues fivefold.
Now, he steps into a historic role at Dior, becoming the first person since Christian Dior himself to serve as its sole creative director.
It's a major moment for the 40-year-old designer, whose journey began far from the runways of Paris. Born in Magherafelt, a small town in Northern Ireland, Anderson left home at 18 to pursue acting in the US. He later changed course and returned to Europe. Drawing on his childhood passion for theatre and costume, he decided to study at the London College of Fashion, where he graduated.
Last year, Anderson was named one of the 100 most influential people by Time magazine, praising 'his innate understanding of how fashion and human behavior intertwine' and how 'his work is always ahead of the curve'.
His sense of cultural timing has been noticeable throughout the years.
Think back to February 2020, just before the world shut down, Harry Styles was rehearsing for the Today show in a colourful, patchwork JW Anderson cardigan. The knitted sweater quickly went viral on TikTok, where users began crocheting their own versions – unaware of just how much time lockdown would soon give them to perfect their craft skills.
Another example is Rihanna's headline-making pregnancy reveal at the 2023 Super Bowl halftime show, where she wore a striking all-red jumpsuit and breastplate designed by Anderson. The bold look subtly confirmed her second pregnancy to millions watching worldwide, creating a viral craze.
Or when Anderson decided to make then 87-year-old Dame Maggie Smith the face of Loewe campaign, showing that fashion doesn't have an age.
In aVogue Business interview Dior CEO Delphine Arnault called him 'the most talented designer of his generation.' Praising his experience at Loewe and leadership within the group, Arnault added, 'He has great experience managing large teams, even though he is only 40. More importantly, he has a very clear vision for the brand.'
Anderson steps into the role following former creative director for women's collections, Maria Grazia Chiuri.
The Italian designer Grazia Chiuri was also celebrated by Arnault for her 'tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior, which allowed her to design highly desirable collections.' Arnault said, 'She has written a key chapter in the history of Christian Dior, greatly contributing to its remarkable growth and being the first woman to lead the creation of women's collections.'
Anderson is competitive by nature – something he may have inherited from his father, Willie Anderson, a former Ireland international rugby player. Anderson sees clear parallels between sports and fashion, once telling The Independent: 'Sportspeople are extremely competitive – to win. And in fashion, when you see someone do something brilliant, it drives you to do something better… to keep outdoing yourself".
His parents have always been supportive. In an interview with The Irish News, they said, 'They believed in a kid who had monumental talent, and we were the same. We saw something in Jonathan. And then we went about ensuring in his early days that we could help him fulfil his dream. You'll do anything for your kid if you believe their dream is not something that's beyond them.'
His father Willie even admitted that he and Anderson's mother Heather 're-mortgaged the house to try and get him through certain points.'
In 2008, he launched his eponymous label, JW Anderson, in which LVMH acquired a minority stake in 2013. In 2015, JW Anderson made history at the British Fashion Council's Fashion Awards by becoming the first house to win both Menswear and Womenswear Brand of the Year in the same year.
The brand is known for blurring the line between men's and womenswear, often labeled androgynous or gender-bending, though Anderson himself prefers the term "unisex".
Thankfully for his parents and their home, Anderson has more than delivered.
Due to conservation protection, shooting films at the Auschwitz site is not possible.
In order to meet the needs of filmmakers, the Auschwitz Museum has made a digital replica, which was created "out of the growing interest of directors in the history of the German camp," explains Bartosz Bartyzel, a spokesman for the museum, in an interview with Euronews Culture.
Euronews Culture: Where did the idea to create a digital replica of Auschwitz come from?
Bartosz Bartyzel: The Auschwitz Museum has been working with filmmakers for many years - both documentary filmmakers and feature film directors. However, due to the conservation protection of the authentic Memorial Site, it is not possible to shoot feature films at the site. The idea to create a digital replica was born out of the need to respond to the growing interest in the history of the Auschwitz German camp in cinema and the daily experience of dealing with the film industry. This tool offers an opportunity to develop this cooperation in a new, responsible and ethical formula.
Why is a replica necessary?
B.B.: The regulations in force at the Memorial preclude the possibility of shooting feature films on the authentic and protected site of the former camp. However, filmmakers - especially those who want to reach for more narrative forms - need a space that allows them to tell the story faithfully. With a digital replica, they can do this without compromising the integrity of the historic site.
Were filmmakers consulted with before the implementation?
B.B.: In fact, it was the day-to-day collaboration with filmmakers and the production needs and challenges they reported that inspired the project. The idea was not detached from reality - on the contrary, it was born out of specific conversations, experiences and questions that had been coming from the creative community for years.
Who was involved in the creative process? How long did it last?
B.B.: The Picture from Auschwitz project is a joint initiative of the Auschwitz Museum, the Auschwitz-Birkenau Foundation and a team of technology specialists led by Maciej Żemojcin. The very concept crystallised over several months in the course of joint work and discussions. The technical team used the most advanced spatial scanning technologies to create a digital replica of the Auschwitz I camp. At the moment, the Foundation is making efforts to raise the funds needed to continue the project - to create a digital replica of the grounds of Auschwitz II-Birkenau, as well as the interiors of some of the buildings.
What reactions did you receive after the announcement of the creation of the replica?
B.B.: The reactions were definitely positive - both from the film community, which sees this as a viable and professional working tool, and from the general public, for whom this is an opportunity to learn about history in a deeper and more authentic way through the medium of film. The project has also been recognised in international debate, including at the Marché du Film in Cannes.
Are there already willing filmmakers who will benefit from the replica?
B.B.: We have already started discussions with the first filmmakers who have expressed an interest in collaborating using the digital replica. The details of these projects remain at the agreement stage for the time being, but we hope to be able to provide more information on the first productions soon.
How has this project been funded and what will it take to sustain it?
B.B.: The creation of the replica is financed by the Auschwitz-Birkenau Foundation from earmarked donations made by private donors. The Foundation is seeking funds to continue the project. Its assumption is that ultimately the maintenance and development of the programme will be financed through licence fees paid by film producers who will use the materials within the Virtual Film Location. This way, the project will become a self-financing tool, simultaneously supporting the educational and commemorative mission of the Memorials.
What difficulties have arisen in implementing the project?
B.B.: Such large and innovative projects always face difficulties. One of the biggest was, of course, obtaining adequate funding to start and develop the project. A key challenge was also the need to reconcile high-tech solutions with the very special status of the space we were mapping. Although we are working in a digital environment, we must not forget that every step we take concerns an authentic Memorial, which is subject to unique protection. This must be a priority thought in every action.