Fashion brands were tuned to the weather forecast in Paris in the run-up to the menswear shows this week – and aware temperatures would reach 40C on Wednesday. This weekend a decision was made – the Christian Dior show, originally scheduled for the afternoon, would be moved to 9am, to avoid the heat of the day.
The change in time certainly made the experience more palatable – as did (in possibly a fashion-week first) the cool towels handed to guests on arrival, umbrellas to block out the sun and personalised fans on seats. In the grounds of the grand Musée Nissim de Camondo, which is under renovation to reopen in 2030, those in the garden even had the benefit of the occasional breeze.
The soundtrack to the show was by Fred Again, the DJ and producer leading a new wave of dance music, the invitation a black disco ball, and the collection had a corresponding – if distinctly luxury – hedonism to it.
There were trousers covered in hologram sequins, ripped jeans and oversize metallic brooches. Some of the suits were deconstructed and remade in chiffon to give an ultra laid-back feel. The mixed-up approach – an overcoat worn with metallic shorts, a monogram quarter-zip and a bow tie – felt elegantly wasted, the wardrobe of someone with deep pockets who makes going out after dark central to their lifestyle.
After the show, Jonathan Anderson – wearing a blue chambray shirt – said his observations of young people’s lifestyles were part of the direction. “Especially in London at the moment, there’s a whole new movement of kids going out. Rave culture is starting back up again – you see it in the suburbs, you see it outside of the city. I see it on the Seine at seven o’clock in the morning. Something is changing – it’s more loose in terms of approach.”
Asked who his customer was, Anderson’s response says a lot about his position at Dior – one of the biggest fashion brands in the world – since he became the first ever creative director across menswear and womenswear in 2025. “I have an interesting job, as I have to talk to an existing customer and loyal client, and I have to go about recruiting customers,” he said. “For me, in a weird way, I enjoy screwing with that, because that’s where you find tension, within that character.”
This is Anderson’s third menswear outing at Dior and he has already shown how he uses pop culture to walk that balance. His first collection featured plain knitted jumpers and jeans, while January’s collection played into the popular indie sleaze look. Since then, the brand has staged a show in Los Angeles and opened a restaurant in Saint-Tropez – ensuring presence in the hotspots of wealthy customers everywhere. This collection is another piece in that masterplan – and it’s doubtless another one with influence that will travel from a heatwave-affected Paris fashion week to outfits worn in the wider world.
Anderson’s ability to create designs that feel innovative but also sell has given him a proven track record across the board – whether at Uniqlo, where he designs collections, or at LVMH, the conglomerate that owns Dior. At his previous role at Loewe, also in the group, he increased revenue five times over in the 12 years he was creative director. In February, a HSBC report suggested he would have a similar effect at Dior – with a 10% growth predicted across 2026.