The Spring/Summer 2026 version of Paris Haute Couture Week is off to a spectacular begin due to Jonathan Anderson, who earlier right now unveiled his first-ever couture assortment—each as inventive director of Dior, and of his profession to date.
His chosen theme for such a momentous event? Florals—however greater and bolder than we’ve ever seen from him earlier than. Flower energy was all over the place, from the elegant ribbon-tied posies despatched to company because the invite (straight impressed by a latest reward from former Dior inventive director John Galliano, no much less) and the cyclamen-covered ceiling of the Musée Rodin venue to, naturally, the gathering itself.
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As big-name celebrities together with Rihanna, Jennifer Lawrence, Greta Lee and Anya Taylor-Joy regarded on from the entrance row, fashions opened the present in dramatic, bulb-like robes with delicate lilac flowers cascading onto their shoulders. Silhouettes then softened into romantic mini-dresses made up of ruffles paying homage to petals, earlier than bursts of florals appeared as earrings, luggage and sneakers, in addition to in beautiful embroidery on silk robes, architectural skirts, blooming bodices and assertion brooches.
It was a floral fantasy for the ages—and an epic show of the French luxurious maison’s savoir-faire. “I feel like I’m doing a PhD in couture,” Anderson informed The Business of Fashion forward of the present. “Every day you are learning the process of something that has been done for so long in France. It is a kind of an institution in itself.”
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That sense of reverence was matched by emotion. “For me, it’s a very emotional process because I think it’s something that is steeped in history—people who have been working for many, many designers inside this house who are still here,” mentioned Anderson. “There’s probably five or six houses in the world at that scale. It’s intimidating. It’s scary. I feel a bit, as you said, [like an] imposter. I think I’ll still feel intimidated until the show is done.”
And in an industry increasingly driven by speed and scale, Anderson was clear about couture’s wider purpose. “Couture is kind of like an endangered craft, a kind of mindset, a mythology and making with hand…” he informed BOF. “Dior couture needs to exist because they are practising a skill that if we don’t practise, would disappear.”
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For that’s the great thing about couture, in spite of everything: free from the constraints of commerciality and a celebration of outstanding craft, it creates the optimum situations for a designer’s creativeness to really run wild—and, at its finest, the outcomes, like right now’s, are nothing in need of extraordinary.