Couture and Lauren Sánchez are everywhere in Paris as Dior and Schiaparelli mix wonder and wit

Dior Unveils New Era as Jonathan Anderson Makes Couture Debut in Paris

PARIS — The Musée Rodin transformed into fashion’s most exclusive waiting room Monday as celebrities and industry insiders gathered for the opening day of Paris Couture Week, all awaiting one pivotal moment: Jonathan Anderson’s first haute couture collection for Dior.

The show began fashionably late after French first lady Brigitte Macron, Lauren Sánchez Bezos, and actress Parker Posey had taken their seats. When Rihanna finally arrived, the lights dimmed to reveal a suspended ceiling garden of flowers. As the show commenced, a single bloom fell gracefully to the floor – an unplanned but fitting metaphor for Anderson’s debut collection: beauty under pressure.

The Northern Irish designer has taken on an unprecedented role at Dior, overseeing menswear, womenswear, and couture simultaneously – a responsibility never before entrusted to a single creative director in the modern era of the storied French house. The significance extends beyond creative leadership; Dior serves as a primary revenue engine for luxury conglomerate LVMH, with couture representing the pinnacle of the brand’s prestige and craftsmanship.

Anderson’s collection, titled “nature in motion,” approached haute couture as living knowledge rather than museum-worthy artifacts. He skillfully reworked historical elements with contemporary sensibility, beginning with a disciplined color palette of blacks, whites and ecru, occasionally punctuated by vibrant color and textural elements.

The collection showcased Anderson’s ability to merge classical couture techniques with modern innovation. A standout piece featured a sublime silk Asian-style coat with sharp black lapels – a perfect example of how Anderson honored Dior’s archives while infusing his distinct creative vision.

Among the collection’s most intriguing elements were pannier gowns, reimagining 18th-century volume through the unexpected lens of contemporary fanny pack silhouettes. This juxtaposition of historical reference and modern utility exemplified Anderson’s signature approach: taking something precious and traditional, then subtly subverting it to create something simultaneously witty and precise.

The designer paid tribute to Dior’s broader creative lineage without relying on nostalgia. The collection referenced cyclamen flowers gifted to Anderson by former Dior creative director John Galliano, suggesting a continuity of inspiration across generations. Oversized hydrangea-like blooms appeared as statement earrings throughout the show, adding a decorative flourish that nodded to Dior’s house codes while pushing Anderson toward his own interpretation of embellishment.

Despite the collection’s technical mastery, it occasionally read as a series of strong individual statements rather than a fully cohesive vision. This is perhaps unsurprising for a debut collection, as Anderson navigates the immense expectations that come with helming couture at one of fashion’s most influential houses.

Across town at the Petit Palais, Schiaparelli presented an equally headline-generating show under creative director Daniel Roseberry. The venue’s painted ceilings evoked the Sistine Chapel, providing a theatrical backdrop for a collection that pushed from “thinking” to “feeling,” according to Roseberry. The front row included Lauren Sánchez Bezos, husband Jeff Bezos, and actress Demi Moore.

Schiaparelli’s collection featured sharp-shouldered “Elsa” jackets with exaggerated hips, armor-like bustiers, and skirts blooming in gradient tulle. Surrealist animal motifs appeared throughout – bird heads, scorpion tails, and snake teeth transformed lingerie into couture theater. The craftsmanship was extraordinary, with one showstopper reportedly incorporating 65,000 handset feathers.

The house’s signature keyhole motif returned as jewelry and hardware elements, adding a mysterious touch to the meticulously crafted pieces. While Schiaparelli’s collection occasionally risked tipping into costume territory with its exuberant maximalism, it successfully balanced menace and beauty, establishing a clear direction for the week’s couture presentations.

As Paris Couture Week continues, Anderson’s Dior debut and Roseberry’s Schiaparelli spectacle have set a dramatic tone for fashion’s most exclusive and artisanal showcase, where technical virtuosity meets creative vision at the highest level of luxury.