PARIS — Jonathan Anderson reflects on his evolving perspective on couture. Initially, he dismissed it as unimportant, but now, he’s immersed in its traditions and complexities.
“Every day feels like a deep dive into an intricate craft that’s held immense significance in France over the centuries. It’s more than just fashion; it’s an institution,” he remarks.
As he prepares for his first haute couture collection as the new designer of Christian Dior, Anderson finds himself hard at work during the typically festive run-up to Christmas.
A week prior, he reached out to share his vision for “transforming couture at Dior.” This sparked my curiosity, and amidst a busy schedule filled with fittings, soundtrack discussions, and his upcoming menswear show, we carved out time to unpack his innovative approach.
This year has spotlighted Anderson continuously, from discussions about the pricing of his debut collection to standout red carpet ensembles worn by Jessie Buckley and Priyanka Chopra at the Golden Globes. His upcoming couture debut at the Musée Rodin in Paris, set for Monday, is perhaps the most pivotal moment yet in his quest to reinvigorate Dior.
Given that LVMH’s Dior is a key player in the luxury market, this presentation carries substantial weight. Couture is foundational, representing not just the house’s genesis but also serving as a linchpin for their extensive portfolio, which spans everything from beauty products to high-end fashion. Haute couture is the pinnacle of this hierarchy.
“Only a handful of houses exist at this scale, and it’s both exhilarating and daunting,” Anderson expresses. “Until the show concludes, I’ll likely feel this sense of trepidation.”
“It’s an emotional journey for me,” he continues. “The history embedded in this craft is profound, with many skilled artisans having contributed to the house over the years.” His passion intertwines with a sense of responsibility; he feels driven to not just participate but safeguard the nuances of traditional couture.
Despite grappling with feelings of self-doubt, Anderson has birthed a fresh approach to Dior couture, creatively and commercially. His collection will feature innovative pieces such as jewelry crafted from meteorites and handbags made from repurposed 18th-century fabrics, paving new paths for clients to connect with the artisanship behind couture.
“Couture must endure because it preserves an artistic skill we cannot let fade away,” he asserts.
‘A Mindset, a Mythology and Making With Hand’
Anderson’s journey resumed last March when he began with Dior’s menswear. It wasn’t until the departure of his predecessor, Maria Grazia Chiuri, that he could fully engage with the house’s prestigious couture workshops.
In the ateliers, he discovered a vibrantly complex world where expertise thrives in specialized areas. “Each artisan focuses solely on their craft,” he explains, contrasting it to niches like gourmet cheese makers and butchers. “Each maintains a unique vision throughout the entire design process.”
The rigid codes and extensive craft techniques initially left him bewildered until he glimpsed the creation of a single dress, igniting a newfound obsession.
His perspective began shifting from the superficial allure of couture to recognizing the urgent importance of preserving a rich breadth of knowledge and specialized craftsmanship.
“Couture embodies a rare craft, a mindset, and a handmade ethos,” he insists.
Anderson possesses a profound appreciation for intricate craftsmanship from his years at Loewe, where he cherished leather artisans and constructed a narrative of craftsmanship. At his JW Anderson label, crafting is also a focal point of the strategy.
However, the couture craftsmanship at a titan like Dior presents its distinct challenges and inspirations, blending creative vision with the practicality of engineering.
“The possibilities here are limitless; there’s no avenue too extreme,” he suggests. “Envision it like designing a revolutionary vehicle—though it may never touch the road, the pursuit of its creation is what matters.”
“This is where a new language can emerge,” he envisions.
This mindset has also guided his operational decisions. Instead of launching various womenswear collections in isolation, Anderson is taking a six-month development cycle to cultivate the couture process, crafting it into a genuine laboratory informing concurrent collections.
“Producing a couture show in merely 30 days is simply unrealistic,” he points out. “Couture serves as a foundation for the house’s creativity, pacing, and standards.”
Starting Points
For his inaugural couture collection, Anderson drew inspiration from an ongoing collaboration with a contemporary artist who redefined his approach to couture, shifting focus from aesthetics to form.
“Magdalene Odundo, a close friend and collaborator, has always inspired me with her interpretations of form,” he shares. “Her vessels remind me of essences of model Naomi Campbell, embodying grace and fluidity.”
The opening look of the upcoming show embodies a swirl of pleated fabric. “I envisioned it fluidly transforming, akin to the motion of clay during fabrication,” he explains. “After seeing the toile, I recognized this needed to be the focal piece for the womenswear show, emphasizing why Dior is exceptionally iconic.”
And while the couture opener visually echoes elements from the ready-to-wear show in October, the construction techniques diverge significantly.
“In couture, there are fine lines of tulle that create a light, airy structure. This construction syntax gives it a form that retains memory,” he elaborates. “Every tiny detail is meticulously hand-sewn, which affects the contour and elevation of each garment.”
“Handcraft elevates pieces to another realm,” he asserts. “Each seam feels rounded and rich, rather than flat in appearance.”
It’s in these subtleties that he discerns the watershed between couture and generalized fashion.
“Couture operates as an experimental lab,” he asserts. “How do we learn from this endeavor and translate its innovations into broader collections?”
New Couture for New Clients
Traditionally, Dior has concentrated on exquisite gowns in its couture line. Anderson aims to broaden the scope, introducing jewelry, bags, and shoes—all crafted with the same level of dedication found in couture gowns—thus establishing a comprehensive pyramid of couture offerings.
“Jean Paul Gaultier captivated my youthful fascination,” Anderson reminisces. “His couture presentations told stories where one would almost need to acquire the complete ensemble to grasp the experience.”
While he respects that method, he is consciously moving towards a model of modularity. Couture, he believes, should be accessible at various entry points instead of being all or nothing.
“Clients should have options to engage at different levels,” he states. “Some may simply want a unique piece rather than a full ensemble.”
In bags, he sees an opportunity for innovation and upcycling.
“What does upcycling look like through a Dior lens?” he elaborates, showing a handbag crafted from vintage French fabric dating back to the 18th century. “Every bag includes a list detailing its materials, handpicked from sources no longer available. We rejuvenate these textiles, embroider anew, and then meticulously reconstruct them.”
Pointing to an oversized Dior Saddle bag made from rich leather adorned with oversized rivets, he emphasizes a design approach akin to prototyping—similar to the processes used in automotive design.
It’s conceivable that a version of this bag could transition into the main collection. “This creates a lab for bags. It may not result in mass production, but generates a pathway to possibilities and refinements,” he explains.
For jewelry, he explores unconventional materials, including fossils and meteorites, to create pieces that resonate with stories from the past while infusing them with fresh perspectives.
Shoes are approached as engineering challenges, drawing inspiration from Roger Vivier, who left his mark on haute couture shoe design in the 1950s.
“We’re investigating new ways to construct shoes and experimenting with design elements, ensuring they encapsulate innovation,” he details. “Creating shoe lasts from scratch allows us unprecedented creative freedom.”
Ultimately, this strategic vision envisions couture as an engaging realm experienced through diverse pathways, in various price ranges, recognizing the myriad possibilities for participation—be it dressing, collecting, commissioning, or engaging with the fashion narrative.
Anderson also anticipates new initiatives for client and public engagement.
He observes that existing clientele often follow recognizable patterns—some commissioning garments for specific events, while others amass collections expressing their fascination with fashion history. However, he is equally keen on drawing in a new audience.
“It’s essential to create an inclusive environment,” he states. The runway signifies the onset of a journey into couture, not its conclusion.
This season, the dedicated show venue within the Musée Rodin, having hosted Dior Homme, will be transformed into a space for the couture presentation and subsequently evolve into a public exhibition area post-show. This approach balances efficiency with a vision to democratize the haute couture experience.
“We’re exploring more sustainable practices,” Anderson mentions.
The exhibition focuses on connection, knowledge sharing, and transparency, bridging the gap between fantasy and the intricate realities of haute couture.
“We plan to keep it open for a full week. Entry will be free, and we’ll offer talks for school groups across France. It’s an exhibition showcasing the work of Magdalene Odundo, couture pieces from the upcoming show, and historical looks from Christian Dior.”
After the show, clients will have opportunities to engage directly with garments at the private Villa Dior. “Every detail will be available for examination,” he notes.
As autumn approached and Anderson finalized his ready-to-wear vision, he welcomed former Dior creative director John Galliano for a visit.
“To me, he’s an icon,” Anderson admits. “He embodies Dior in the collective consciousness to this day.”
Galliano brought flowers and sweets for the team, a gesture that resonated deeply with Anderson, becoming a recurring theme in both the collection and the show’s invitation materials.
“He once said, ‘The more you invest in Dior, the more it reciprocates,’” Anderson reflects.
He pauses, revealing a nugget of wisdom: “The deeper your affection for the people within it, the greater the returns. It teaches you, guides you.”
