Quiet on Set for Dior Cruise 2027

Dior has taken LA’s County Museum of Art and Jonathan Anderson is officially a kid in America. After handing out sets of car keys as invites, with Dior trinkets and all, the show commenced in a low-lit setting obscured by the smog of Old Hollywood glamour. I’ve spoken before about how Anderson uses the dissimilarity between real and fake to whip up a storyline steeped in escapism, and Dior Cruise 2027 was no different; a small portion of LA was pulled aside to create the smoky backdrop, complete with streetlamps pulled straight from the silver screen and getaway cars to fuel the narrative beneath tracks by Linda Scott and AIR. With a creative director who loves film at the helm of the heritage house, it would’ve been a missed opportunity. Marlene Deitrich once famously said “No Dior, no Dietrich!”, and while this famed spat between Hitchcock and the Stage Fright star firmly glued film and fashion together, yesterday’s show brought an even more thrilling accusation from a very different Jonathan; our leading lady is on the run, and she looks spectacular doing it. Christian Dior, like Anderson, designed costumes for multiple films, including Terminal Station, Les Infants Terribles, and the aforementioned Stage Fright.

Image courtesy of Dior by Eric Staudenmair.

Anderson had some notable collaborators this time around, aside from an incredibly talented team all-round. Philip Treacy, Irish milliner, designed bespoke headpieces for the show, while pop artist Ed Ruscha collaborated on shirts and referenced the creative director’s own heritage. The hats, featuring “Dior” and “Star” in brushstroke letters in a similar technique to that made for Isabella Blow’s hat, toyed with the shadowy set and made a striking addition. The show itself began with a sun-like gown, bright and floral, a recurring character in the carousel of LA personalities. The same gown appeared in violet and monochrome. Ripped jeans were made glamorous with delicate strings of silver with a matching shimmery Bar Jacket, while the state flower, the Californian Poppy, knitted together a stunning dress.

Images courtesy of Dior.

A wool flannel coat striped with the geometric shadows was, for me, the main event - with printed Venetian blinds as a film noir citation, the outerwear carries with it a piece of the show itself. It was one of multiple coats featured in the collection, which accumulated a faux fur monochromatic fever dream. Blushing pinks and pastel rhinestones played a stunning part in the scene, slouchy yet refined, with flowers pinning the silhouette in different respective places. The Dior cape had also been recast in all its glittery glory. The lady in scarlet came as a wake-up call, again following Dior tradition. The real shock factor lay in sleek sheer and interesting fabrics, which included dangling twirled ribbon cords beneath wool - a unique choice for a resort collection, but an unexpected direction for the airy brand.

Images courtesy of Dior.

To conclude the script, of course, comes a throwback to the show’s accessories, featuring everything from a nautilus-inspired minaudière to an all-new silhouette with a crescent-shaped base, alongside shoes brought to life with flowers and shimmering sequins. Earrings were statements, with rippling silver from resin faces and chandelier-esque glassy pieces. Rounded insect bags, previously teased by Anderson, made their runway debut, along with new houndstooth Lady Dior bags , embroidered purses on paperclips chains, and Saddle bags with fresh paint jobs.

Images courtesy of Dior.

Sabrina Carpenter’s Met Gala look was a magnificent teaser for the LA show and with it, amidst the vintage cars and all that concrete, Anderson steered Dior into its most cinematic chapter yet. We’re well prepared for a filmic mid-season, no matter how exploratory; he’s already built a very clear image for his tenure, and an impressive one at that. He’s streamlined the connection between the commercial and artistic aspects of his industry, and it’ll certainly be all lights, camera, action for Anderson in the seasons ahead.