Latest news with #LVMH
The Hindu
an hour ago
- Entertainment
- The Hindu
Jonathan Anderson for Dior was a calculated, slightly dishevelled debut
The most eagerly anticipated show of Paris Fashion Week landed quietly but assuredly with Jonathan Anderson's debut for Dior Homme. Front-row seats at the Hôtel National des Invalides were filled by fashion powerhouses and cultural icons alike: Rihanna and A$AP Rocky, Sabrina Carpenter, and Daniel Craig, all lending star wattage to the occasion. After being named artistic director of Dior womenswear just weeks prior, Anderson becomes the first designer since Christian Dior himself to oversee everything: menswear, womenswear, and haute couture at the LVMH flagship. This was not a show trying to impress with scale. It whispered its point, trusting you were listening. The Dior tailoring —impeccable, still — was softened, made breathable. Jackets retained their lines, but with a shrug. Trousers came with a drop down crotch and relaxed, more exhale than exclamation. This was Jonathan Anderson doing what he does best: filtering heritage through instinct, turning formality into something that breathes. 'It's like pulling your favourites from a wardrobe,' says Akshay Tyagi, Mumbai-based celebrity stylist. 'It's got a bit of edge. It's got panache. But it's also easy and chill.' That balance is the essence of what Anderson delivered. Past meets present The official Dior press note framed it as 'a spontaneous, empathetic collusion of then and now… a reconstruction of formality' and that was clear. Donegal tweeds, regimental neckties, and 18th-century-style waistcoats were reinterpreted, not just revived. Diorette charms, delicate florals, and embroidery hinted at Monsieur Dior's love for Rococo romanticism and British culture, but were deployed with a kind of self-aware restraint. 'There's a youthful energy here,' says Dheeraj Reddy, Mumbai-based fashion creator. 'The reconstructed suit shorts, oversized bow ties and flowing capes were sharp but whimsical.' Dheeraj points to the cropped blazers and structured shopper bags as future must-haves. Meanwhile, the military jackets brought back a touch of Kris Van Assche-era (artistic director for Dior Homme from 2007 to 2018) structure, but less rigid. Arson Nicki, a US-based fashion commentator, calls it 'the strongest debut at a couture house in quite some time.' He cites the first look — imperial collars, bar-jacket silhouettes, sculpted cargo shorts, and fisherman sandals — as a thesis in itself. 'It was unmistakably Dior, but also recognisably Jonathan Anderson,' he adds. 'Anachronistic and of-the-moment; challenging and immediate.' Still, one could not ignore the elephant — or rather, the heatwave — in the room. Europe has been burning through summers in recent years, which made Anderson's use of heavy outerwear — full-length capes, trench coats, and tailored layers — feel at odds with the spring/summer label. Strip it down, though, and there is plenty that works: tailored striped shorts, cropped waistcoats, and a standout white jumpsuit that looked like it was plucked from naval history. The white jumpsuit with the black tie and backpack, which could be a hit among GenZ, was a sleek fashion moment—it echoed the union suit, a one-piece undergarment worn by sailors and workers in the 19th and early 20th centuries. Anderson's version, minimalist and sharply cut, felt like a modern-day wink to that utilitarian history. Less costume, more quiet reference. It is safe to say the collection flirted with commercial polish, occasionally wavering between clarity and contradiction. There were shades of Hedi Slimane-era Dior Homme in there — boyish, skinny, insouciant — but Anderson's voice stayed intact. A first show does not have to solve it all. Anderson's Dior debut was a careful tune-up. A calculated start for a new chapter —one that may speak louder with time. And in a market that is shifting fast towards quiet luxury, modular dressing, and stylistic fluidity, this collection feels future-proof.
Fashion Network
9 hours ago
- Entertainment
- Fashion Network
Jonathan Anderson debuts at Dior: Welcome to the New Era
Jonathan Anderson presented his debut collection for Dior behind a famed French monument to its military, Les Invalides, and at the finale it felt very much like a designer marching to glory. See catwalk Think of it as the New Era, rather than the New Look, as the Irishman riffed on Dior's DNA, and many women's wear designs of Monsieur Dior himself, to create a powerful pathbreaking fashion statement. Take Monsieur's autumn 1948 multi-fold Delft dress made in silk faille which Anderson then morphed into multi-leaf white denim cargo shorts that opened the show. Or a superb check wool coat, nipped at the waist but scalloped below the hips, a look Monsieur named Caprice from spring 1948, which led to a great series elephantine men's pants with wraparound features. The Stakhanovite Anderson has clearly been putting in long shifts at Dior, mastering the codes, delving into the archives. Playing on another Dior classic, Christian's Autumn 1952 dimpled moiré coat, La Cigale. But taking it forward into the 21st century with some great undulating coats. Plus, his Donegal tweed style versions of the house's signature Bar jacket were pretty sensational. Throughout, there was a whole Edwardian feel – with high collars, stocks and knotted bows, albeit worn without shirts, and paired with great Dior grey fracks, albeit paired with faded jeans. Plus, Anderson will surely ignite huge demand for the trim linen summer gilet - in pink or finished with flowers. While his Jacobean rogue coats will be huge hits. Many looks anchored by a new suede boxing-meets-trail bootie. He dreamed up one striking new mop bag, but otherwise played with Dior's hit fabric tote, but creating many versions printed with classic novels – from Françoise Sagan's "Bonjour Tristesse" to Bram Stroker's "Dracula". If occasionally erratic – one or two chino and striped shirts looks reminded one that Anderson has made several capsule collections for Uniqlo – it still all felt like a major menswear statement and huge hit. Without question it was the most anticipated debut by a designer at a major house this century. If there was any doubt; look at the fellow designers who showed up: Donatella Versace (for whom he briefly designed Versus), Stefano Pilati, Courrèges ' Nicolas Di Felice, Glenn Martens, Silvia Fendi, Pierpaolo Piccioli, Daniel Roseberry, Christian Louboutin, Chitose Abe, Michael Rider, Julien Dossena, Chemena Kamali, and LVMH regulars or alumni – from Pharrell Williams to Kris Van Assche. Talk about designer gridlock. See catwalk The 40-year-old Northern Irishman takes over at Dior as an already acclaimed star. Having turned Loewe, LVMH's leading Spanish brand, into the hottest show in Paris this past half decade. Jonathan's choice of location respected tradition, seeing it was the same square where his immediate predecessor Kim Jones had staged his final show for Dior in January. There the similarity ended, with not a hint of Kim's style in sight. Though the set design did recall Anderson's debut show at Loewe, which featured precisely poured concrete blocks as seats. At Dior, the audience sat on precise plywood blocks, on a plywood floor, under a high ceiling entirely made of illuminated squares. Even since he began teasing on social media his new era at Dior, it's been a respectful homage to classicism. Just like this collection, even if he also managed to turn the whole codes upside down. Somewhat eccentrically, a pre-show French speaker recounted - at length - exact cuts, darts, shapes and fabrics of Dior looks, which turned out to be indie director and French heartthrob, Louis Garrel reading from the memoir "Dior and I". Garrel, whose mop-top hair appears to have been the inspiration for all the models' hairstyle, joined Louvre director Laurence Descartes, Roger Federer, Robert Pattinson, Daniel Craig and Rihanna, in the front row. In teases and in the show, Jonathan also played on Monsieur Dior's great affection for British taste with an opening Instagram post of a blue shirt fabric with a pin for Dior. Putting that online in mid-April six weeks before his appointment was official. Posting all manner of hints from a tape measure curled into a thimble to look like a snail on huge leaf, to an embroidered Louis XIV chair, he personally redesigned. Anderson – who will direct menswear, women's wear and couture at Dior - restored the house's dove gray logo, and replaced the all capital Dior, with just the "D" capitalized. Seen at the entrance to the huge show tent, over a giant illustration of Dior's neo-classical salon on Avenue Montaigne, which witnessed the birth of the house, and the legendary New Look on February 12, 1947. Which segued into two works of fine art – oil paintings by J.B.S. Chardin of a vase full of flowers, or a plate of raspberries – that hung inside the show. Both lent for the show by the Louvre, and much admired by LVMH CEO, and Anderson's ultimate boss, French billionaire, Bernard Arnault, who studied them carefully. As did Jonathan's proud parents, his rugby playing father and one-time captain of the Irish national rugby team Willie, and his elegant schoolteacher mum, Heather. See catwalk Post show, when asked his thoughts on the show, Arnault told 'It was, frankly, magnifique!' Though perhaps the most chatter this fashion sea change inspired was thanks to Anderson's idiosyncratic invitation – a ceramic white plate with three ceramic eggs. Like the solid stools, there was a sense of reassurance. Back when Jonathan was a teen growing up in the outskirts of the small town of Magherafelt in County Derry, his first teenage job was gathering eggs from a local farm. 'Next thing you know, we came back home and there was a sign, 'eggs for sale.' He as selling them. Jonathan has always been an incredibly hard worker. He puts his head down and never stops. But he is still the same person we knew when he left Northern Ireland. And we like that,' said his proud dad.
The Guardian
11 hours ago
- Entertainment
- The Guardian
Dior Paris show is sweet relief for anyone wanting to flex a cooler muscle
Even Anna Wintour can only be in one place at a time. And rather than Paris, where Jonathan Anderson made his Dior debut on Friday, the most powerful person in fashion was in Venice for the Bezos/Sánchez wedding shortly after relinquishing her role as editor-in-chief at American Vogue. But unlike the wedding of the year, Anderson's show proved to be sweet relief for anyone wanting to flex a cooler, chicer muscle. Perched on wooden cubes within the Cour du Dôme des Invalides sat plenty of VIP clout: Daniel Craig, Donatella Versace and Roger Federer. Most of the Arnault family, who own Dior and routinely joust with Jeff Bezos over who has more money, were present. Even Rihanna, pregnant in a Dior pastel waistcoat, was relatively punctual. Anderson is known for his sharp eye and crafty, mercurial taste – few people have shaped the red carpet and ultimately the high street into the hype machine it is today. But Dior is a different challenge. As the first creative director of menswear and womenswear since Christian Dior himself, the designer needs to revamp LVMH's second biggest brand, with estimated revenues far greater than at his former label, Loewe. 'I can't stand here and say I'm not nervous, that it is not petrifying,' he said backstage before the show, wearing his trademark Levi's and a plaid Dior shirt. 'Dior is on billboards. It's on Rihanna. It's transcendent. But this is the starting point – I've been here four months, and the first five shows will show different aspects. Some will contradict; others will be completely radical.' Some designers get critical acclaim, others sell a lot of clothes – a rare few have a talent to do both, but that's the hope with Anderson. Because of tariff wars and a decline in the luxury market, LVMH shares have halved from their 2023 peak. 'Delphine [Arnault] and I, we talked about changing the quality, about upping the game,' Anderson said. Opening the show was a bar jacket in Donegal tweed. More interested in how a look is put together than the clothes themselves, Anderson styled it with a pair of thick cream cargo shorts cut from 15 metres of fabric and layered up like a Viennetta. Knitted vests were a through line, as were ties and neck ruffles, and plenty of colour – greens, pinks and blues. Dior, he says, is a house of colour, in part because it offsets the 'house grey' that features on billboards, Dior clothes labels he redesigned and the Parisian sky. A puffer gilet was circularly cut and placed over a formal shirt, while summer coats and capes came knitted or in pleated bright colours. One was even based on an original Dior shape 'that would have cost the equivalent of a Ferrari', except here it was styled with trainers. There were even jeans – skinny and baggy, in indigo and green. The look was preppy and eccentric, with shades of Loewe, JW Anderson, and even Uniqlo in the puffers, among the classic Dior shapes. On Anderson's original moodboard were Warholian images of the artist Jean-Michel Basquiat and the socialite Lee Radziwill, alongside classic Dior dresses such as the Delft and Cigale. The idea was to take each look into the present, 'to recontextualise it', he said. He even took his predecessor Maria Grazia Chiuri's book bag totes and put a 'new skin' on them, in the form of Dracula and Les Liaisons Dangereuses. It's these hyperspecific references that give Anderson's work a pleasing temporality, and will no doubt sell well – here at Dior, and whatever high street shop will no doubt copy him. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Anderson is the latest big name to arrive at an established brand. 'I'm not the only person going into a big house at the moment, but we need to let the dust settle,' he said, adding that he didn't 'want to chop it all down. It's just a continuation.' A great believer in the Jim Jarmusch approach to art – steal, adapt, borrow – he said: 'Ownership in fashion is devastating. Copy [in design] is what you do. Because there will always be someone after you.'
Fashion Network
11 hours ago
- Entertainment
- Fashion Network
Jonathan Anderson debuts at Dior: Welcome to the New Era
Jonathan Anderson presented his debut collection for Dior behind a famed French monument to its military, Les Invalides, and at the finale it felt very much like a designer marching to glory. See catwalk Think of it as the New Era, rather than the New Look, as the Irishman riffed on Dior's DNA, and many women's wear designs of Monsieur Dior himself, to create a powerful pathbreaking fashion statement. Take Monsieur's autumn 1948 multi-fold Delft dress made in silk faille which Anderson then morphed into multi-leaf white denim cargo shorts that opened the show. Or a superb check wool coat, nipped at the waits but scalloped below the hips, a look Monsieur named Caprice from spring 1948, which led to a great series elephantine men's pants with wraparound features. The Stakhanovite Anderson has clearly been putting long shifts at Dior, mastering the codes, delving into the archives. Playing on another Dior classic, Christian's Autumn 1952 dimpled moiré coat, La Cigale. But taking it forward into the 21st century with some great coats. Plus, his herringbone versions of the house's signature Bar jacket were pretty sensational. Throughout, there was a whole Edwardian feel – with high collars, stocks and knotted bows, albeit worn without shirts, and paired with great Dior grey fracks, albeit paired with faded jeans. Plus, Anderson will surely ignite huge demand for the trim linen summer gilet - in pink or finished with flowers. Many looks anchored by a new suede boxing-meets-trail bootie. He dreamed up one striking new mop bag, but otherwise played with Dior's hit fabric tote, by creating many versions printed with classic novels – from Françoise Sagan's "Bonjour Tristesse" to Bram Stroker's "Dracula". If occasionally erratic – one or two chino and striped shirts looks reminded one that Anderson has made several capsule collections for Uniqlo – it still all felt like a major menswear statement and huge hit. Without question it was the most anticipated debut by a designer at a major house this century. If there was any doubt; look at the fellow designers who showed up: Donatella Versace (for whom he briefly designed Versus), Stefano Pilati, Courrèges ' Nicolas Di Felice, Glenn Martens, Silvia Fendi, Pierpaolo Piccioli, Daniel Roseberry, Christian Louboutin, Chitose Abe, Michael Rider, Julien Dossena, Chemena Kamali, and LVMH regulars or alumni – from Pharrell Williams to Kris Van Assche. Talk about designer gridlock. See catwalk The 40-year-old Northern Irishman takes over at Dior as an already acclaimed star. Having turned Loewe, LVMH's leading Spanish brand, into the hottest show in Paris this past half decade. Jonathan's choice of location respected tradition, seeing it was the same square where his immediate predecessor Kim Jones had staged his final show for Dior in January. There the similarity ended, with not a hint of Kim's style in sight. Though the set design did recall Anderson's debut show at Loewe, which featured precisely poured concrete blocks as seats. At Dior, the audience sat on precise plywood blocks, on a plywood floor, under a high ceiling entirely made of illuminated squares. Even since he began teasing on social media his new era at Dior, it's been a respectful homage to classicism. Just like this collection, even if he also managed to turn the whole codes upside down. Somewhat eccentrically, a pre-show French speaker recounted - at length - exact cuts, darts, shapes and fabrics of Dior looks, which turned out to be indie director and French heartthrob, Louis Garrel reading from the memoir "Dior and I". Garrel, whose mop hair appears have been the inspiration for all the models hairstyle, joined Louvre director Laurence Descartes, Roger Federer, Robert Pattinson, Daniel Craig and Rihanna, in the front row. In teases and in the show, Jonathan also played on Monsieur Dior's great affection for British taste with an opening Instagram post of a blue shirt fabric with a pin for Dior. Putting that online in mid-April six weeks before his appointment was official. Posting all manner of hints from a tape measure curled into a thimble to look like a snail on huge leaf, to an embroidered Louis XIV chair, he personally redesigned. Anderson – who will direct menswear, women's wear and couture at Dior - restored the house's dove gray logo, and replaced the all capital Dior, with just the "D" capitalized. Seen at the entrance to the huge show tent, over a giant illustration of Dior's neo-classical salon on Avenue Montaigne, which witnessed the birth of the house, and the legendary New Look on February 12, 1947. Which segued into two works of fine art – oil paintings by J.B.S. Chardin of a vase full of flowers, or a plate of raspberries – that hung inside the show. Both lent for the show by the Louvre, and much admired by LVMH CEO, and Anderson's ultimate boss, French billionaire, Bernard Arnault, who studied them carefully. As did Jonathan's proud parents, his rugby playing father and one-time captain of the Irish national rugby team Willie, and his elegant schoolteacher mum, Heather. See catwalk Post show, when asked his thoughts on the show, Arnault told 'It was, frankly, magnifique!' Though perhaps the most chatter this fashion sea change inspired by Anderson's idiosyncratic invitation – a ceramic white plate with three ceramic eggs. Like the solid stools, there was a sense of reassurance. Back when Jonathan was a teen growing up in the outskirts of the small town of Magherafelt in County Derry, his first teenage job was gathering eggs from a local farm. 'Next thing you know, we came back home and there was a sign, 'eggs for sale.' Jonathan has always been an incredibly hard worker. He puts his head down and never stops. But he is still the same person we knew when he left Northern Ireland. And we like that,' said his proud dad.
Bloomberg
14 hours ago
- Entertainment
- Bloomberg
Dior Unveils Designer's Debut Show as LVMH Label Seeks Reboot
Christian Dior unveiled its first collection from newly-appointed artistic director Jonathan Anderson at a show in Paris that featured elegant and wearable attire for men. The Northern Irish designer's debut is an important test for LVMH's second-biggest fashion label, which has struggled recently amid sluggish demand. Dior likely generated about 14% of the French luxury group's profit last year, behind the much larger Louis Vuitton, according to HSBC estimates.
