AS THE first notes of State Trooper by Bruce Springsteen played, the first model appeared – there it was, our first introduction to Jonathan Anderson’s Dior. Shirtless with Bermuda ruffled shorts, a bow-tie collar and a bar jacket crafted from Donegal tweed. It was an immediate shift from Kim Jones’ meticulous knack for sophistication and presented a far more youthful injection to the heritage brand.
Whilst styled with contradictions, it was a clever starting point. Anderson will be the first designer to take charge of both women’s and menswear, along with couture, since the founder himself, bringing unity to all sectors: and the nod to the 1947 ‘New Look’ immediately tied everything together quite neatly.
To set the scene a little bit more, the room in which Spring/ Summer 2026 was presented was made to look like the velvet-lined interiors of Berlin’s Gemäldegalerie. On the wall were two paintings by Jean Siméon Chardin – organised probably at great expense by LVMH, lending one from the Louvre and the other from the National Galleries of Scotland – to help the Irish designer echo the notion of a museum (a public space to enjoy, discover and celebrate relics of the past) and to do the same for fashion.
Historic dressing played an integral part in Anderson’s vision. Bridging the gap between 18-19th century French court dressing – think intricately embroidered silk waistcoats, high-standing neckties and long-tailed military-esque coats, all finding themselves once again at the centre of Paris.
The show notes explain that the revival of these aristocratic tropes is an “inquiry into the unattainable”. But this is Anderson, a man who understands how to make the absurd desirable and frankly, how to make clothes that sell.
It was a youthful declaration of style. It was fiercely sophisticated and yet undeniably casual. Pyjama shirts were paired with 1930s evening-wear scarves and sweatpants; waistcoats were matched with jeans; and velvet blazers were worn with sandals. Ties became statements and were rarely worn neatly.
There was a clear link to British culture stemming from the playfulness and romanticism of the pairings. It was fun and most importantly it worked.
The questions that SS26 seemed to pose were ones of reinvention. How do you decide to present yourself? What character do you want to play? And, how do you use the old to create something new? Anderson’s answer seems to be simple: have fun with it. You don’t need to tuck your shirt, or maybe just don’t wear one.
by Imogen Clark