The Dior women’s collection for next Fall/Winter once again begins at the Jardin des Tuileries. Just like the show invitation, which featured two miniature versions of the iconic green chairs found in all of Paris’s public parks. First introduced in 1923, they have since become emblematic symbols of these spaces. They immediately evoke the Parisian green landscape, carrying layered meanings within them: places of gathering and exchange, but also of solitude and personal reflection. They are for everyone—without limits or hierarchies—universal. These elements prompted Jonathan Anderson to reflect on individuals psychology, on the idea of dressing to step outside, to meet others, or simply to carve out time for oneself.
The Jardin des Tuileries is also a historic venue where Dior has shown before. For the creative director, Paris is precisely this: the discovery and admiration of a city both grand and composed, wandering through its streets and parks in search of hidden corners and ordered perspectives. A walk in the park becomes an intense moment—a connection with nature, a liberation of thought, an act of observing others.
The collection is studied down to the smallest detail. Romanticism turns modern; the movement and dynamism of fabrics and cuts create tension, with exaggerated lengths and volumes set against shorter, more essential lines. Ruffles enrich skirts and dresses, as well as the reinterpretation of the new Bar Jacket, embellished with a lace crinoline-like structure that creates volume within the jacket’s silhouette. Throughout the défilé, the lines remain soft, designed for a woman who is light and spontaneous, never constructed. Precious embellishments elevate the craftsmanship: feathers, crystals, tiny gems set into the fabric, oversized applied flowers. Patterns play a central role—lustrous jacquards and exceptional brocades sit alongside abstract brushstrokes of color, small warm-toned checks inspired by houndstooth, and significant lace details. Formal and informal codes merge, one slowly deconstructing into the other; elements of the past fuse with a bold contemporaneity. Satin and chiffon feature prominently, as does shearling in long coats with deep necklines and contrasting lapels. Knitwear is developed using unique artisanal techniques in collaboration with Venetian mills, allowing for rich and uncompromised artistic and visual expression. Compact chenille is knitted with shimmering sequins. The palette unfolds gradually: from the grey and white of the opening look to green and brown, softening into beige and yellow, before returning to the elegant depth of black and midnight blue.
Jonathan Anderson’s fashion feels increasingly spontaneous, natural, and elegant—constructed without apparent effort. Everything is chic and considered, yet nothing feels forced. The same can be said of the show’s setting: a green octagonal metal structure rising around the Grand Bassin, scattered with artificial water lilies. Everything reflects the depth of the human soul—built from many different facets, and precisely for this reason rich, unique, and extraordinary. A spontaneous charm, never artificial, and a tribute to Parisian heritage.
The audience was guided into the park for an intimate promenade on a warm autumn day, where refinement meets simplicity. At the core of this direction lies Dior’s enduring connection to nature and its femmes fleur—a nod to the 19th-century promenades in parks where elegance was put on display. Art, too, served as an abstract reference: Claude Monet’s water lilies and the silhouettes of figures in Georges Seurat’s paintings appear in distant yet perceptible echoes. Once again, Jonathan Anderson merges cultural references with the maison’s heritage through a poetic yet subversive aesthetic, in a continuous dialogue between contemporary character and irreverent determination.
