Paris Fashion Week commenced with a major presentation from Dior, held in the historically significant Jardin des Tuileries. The runway was notably suspended above the octagonal pond, a site famously captured by Claude Monet in his artworks. The show began nearly an hour behind schedule, partly due to the high-profile presence of singer and cultural icon Rihanna in the front row. Other notable attendees included actresses Jennifer Lawrence, Cynthia Erivo, and Anya Taylor-Joy.

Dior’s latest collection marked the first full season under the creative direction of Jonathan Anderson, who joined the French fashion house in 2025. Anderson, 42, an Irish designer recognized for his conceptual approach, delivered a lineup that combined innovation with commercial appeal. His work draws a parallel to Christian Dior, the brand’s founder, who revolutionized women’s fashion in 1947 with the iconic New Look featuring wasp-waisted silhouettes and voluminous skirts.

This season, Anderson introduced a series of bold, exaggerated shapes and experimented with unexpected fabric treatments—blazers appeared unusually lightweight, and pleats defied conventional construction. Unlike some previous shows, this collection was noted for its wearability, containing numerous items considered viable merchandise for everyday wardrobes. Anderson emphasized his intent to create what he described as a “vibe” rather than focus the show narrowly on a single theme, aiming instead to set recognizable “codes” that also offered adaptability.

One highlight was the reinterpretation of Dior’s signature bar jacket, a staple derived from the original New Look. Anderson transformed it into what he termed the “bar(n) jacket,” styled similarly to a casual barn jacket, positioning it as a likely best-seller. Accessories also drew attention, particularly the long, intertwining pieces of jewelry designed to drape across the body in a manner reminiscent of “guy ropes,” which may become a future commercial success for the house.

Reflecting Christian Dior’s historical idea of the “Dior woman,” Anderson instead portrayed a diverse array of female archetypes. These ranged from a high-end rocker wearing metallic jeans and tailored tuxedos to a more artistic persona featuring asymmetric skirts paired with bow-embellished chiffon tops. The collection also included elegant gowns inspired by 1920s styles, appropriate for red carpet events, alongside sophisticated, tailored ensembles emblematic of “bon chic, bon genre”—a French expression for chic, well-bred fashion. The variety underscored Anderson’s declared goal of establishing a multi-dimensional “vibe” rather than a singular aesthetic, an objective that critics generally acknowledged he achieved.