Why Exhibiting the Work Matters

On Monday Jan. 26, Jonathan Anderson debuted his first couture collection for Christian Dior.

In December, BoF founder Imran Amed travelled to Paris to meet with Anderson to get a first look, and to take stock of his journey thus far.

Anderson is unveiling his first Dior couture collection while orchestrating a sprawling calendar across men’s, women’s and accessories. He explains how couture went from “irrelevant” in his mind to an emotional, craft-first engine for the house — and why he’s reshaping how Dior makes, shows and shares couture with clients and the public.

“Couture is an endangered craft," he says.

In this conversation, Anderson reflects on why couture exists, how endangered craft can be protected and the very human reality of leading a global fashion machine.

Key Insights: 

• Anderson admits that a year ago he never saw himself in couture. Now he describes fittings as an education within a living French institution. “I joke every time I’m in a fitting, I feel like I am doing a PhD in couture,” he says. Seeing the atelier at work reframed it entirely: “Couture is kind of like an endangered craft. What Dior is doing is protecting this as a national symbol of making,” says Anderson. “Once I got into that mind space, then I was able to work out, okay, well, what do I want from it? Or what is new for Dior in a landscape that’s had some of my heroes in it.”

• Anderson is reframing couture as an experience to be studied, not just scrolled — extending the 15-minute show into a three-part journey. Act I: the runway. Act II: intimate cabinet presentations at Villa Dior, where clients handle every component with the atelier team on hand, followed by days of selling. Act III: a free public exhibition that places the new collection in dialogue with Christian Dior and artist Magdalene Ndondue — an invitation to witness technique, context and provenance up close. As he puts it: “A photograph will never tell you that a dress took 4,000 hours. ... I’m inviting people to see something physical, because it may change your mind — it might change your opinion of it.”

• Before unveiling his first Dior women’s collection, Anderson invited John Galliano to privately view the work — a full-circle moment with a hero who helped define Dior in the public imagination. Galliano arrived with two bunches of wild cyclamen tied with black ribbon, a gesture that became talismanic for the Spring/Summer 2026 show’s pink-and-black mood and forest-floor set details. More than the symbolism, it was Galliano’s counsel that stuck: “The more that you love Dior, the brand, the more it will give you back,” recounts Anderson.

• Anderson argues for real transparency around the people off-camera who turn an idea into a product and a show into a business. He highlights merchandisers, window teams, logistics, finance and operations — all of whom translate creative vision into reality. “It may not be creative, but they work in a creative business; they have to try to work out how to make a designer’s dream come true. If we want to pull the veil down, we have to do it in all categories. A fashion show is not just me; I am the conductor,” he says. “I have a responsibility to the hundreds, thousands of people who work here to make sure it works. It’s a balancing act.”

• Anderson wants each show to have its own energy while still speaking a shared Dior language. “I will build a vibe or a kind of culture around a brand, but then… the energy of each show has to be a different energy.” He adds: “They all also have to be linked. There is a language that is built.” Working with Dior chief executive Delphine Arnault, Anderson is trying to “put down concrete blocks”. Some will “end up being sand and then you’ll have to rebuild it,” he says.

Additional Resources:

• Jonathan Anderson | BoF 500
• Clothes for Life or Clothes as Costume?
• Louis Vuitton, Dior and What Luxury Means Today

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