<p>Jonathan Anderson opens the doors of Dior&rsquo;s Haute Couture department as if unveiling a chamber of wonders.</p>

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<p data-start="201" data-end="693">For his first couture collection at the House, he imagines couture as a fragile ecosystem, one where nature, memory and craftsmanship constantly interact and quietly evolve. Rather than staging a dramatic rupture, Anderson takes a slower, more attentive route. Just days after presenting the <a href="https://www.hommessingapore.com/style/jonathan-anderson-dior-mens-fall-winter-2026-collection-fashion-looks-celebrities-hyunjin-mingyu" title="Dior Men's Fall/Winter 2026 Collection Mixes the Past with the Present" target="_blank" rel="noopener">Fall/Winter 2026 menswear show</a>, this <a href="https://www.lofficielsingapore.com/fashion/watch-dior-s-spring-summer-2026-haute-couture-show-live-from-paris" title="Watch Dior's Spring/Summer 2026 Haute Couture Show Live From Paris" target="_blank" rel="noopener">Spring/Summer 2026 couture debut</a> signals a defining moment for <a href="https://www.lofficielsingapore.com/fashion/dior-spring-summer-2026-fashion-celebrity-campaign-jonathan-anderson-ss26" title="Jonathan Anderson&rsquo;s First Dior Campaign Signals a Shift Towards Style as Identity" target="_blank" rel="noopener">Dior</a>. It is not about spectacle, but about reordering symbols, materials and meaning with care.</p>
<p data-start="695" data-end="1042">Anderson treats couture neither as sacred ground to be conquered nor as a fixed monument. Instead, he sees it as something living and unstable, existing only through practice. Like nature itself, couture never reaches a final conclusion. It keeps changing. That idea runs through the entire collection, from the scenography to the smallest stitch.</p>
<p data-start="1044" data-end="1507">The show opens inside a transformed space. A ceiling thick with moss, grasses and cyclamen flowers, gifted by John Galliano, seems to suspend time. The mood sits somewhere between an organic art installation and a cabinet of curiosities. The collection mirrors this setting. It unfolds like a modern Wunderkammer, where fossils, meteorites, 18th-century textiles and painted miniatures are not preserved artefacts, but active materials used to generate new forms.</p>
<p data-start="1509" data-end="1916">On the runway, the silhouettes claim space. Skirts broaden, gowns seem to push air around the body, and volumes remain soft without turning stiff. Ultra-light materials such as openwork crochet, chiffon and frayed organza take on an almost architectural quality. They show how the hand can turn fragility into structure. Draping follows the body&rsquo;s movement rather than restricting it, amplifying every step.</p>
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Courtesy of Dior

<p data-start="1918" data-end="2427">Nature is a constant presence, but never in a literal or decorative way. Flowers do not simply adorn the garments. They appear to grow from them. They emerge from the bodice, extend into jewellery, and quietly weave their way through details. The effect recalls the suspended moment in Bernini&rsquo;s <em data-start="2214" data-end="2233">Apollo and Daphne</em>. Filtered through memory and culture, nature becomes raw material for craftsmanship. Silk is cut into petals, compressed into dense embroidery, or layered into feather-light, vaporous textures.</p>
<p data-start="2429" data-end="2855">The inclusion of knitwear within the couture collection reinforces this sense of expansion. It speaks to time, patience and experimentation. Bags appear in Dior Haute Couture for the first time, treated as sculptural objects made from 18th-century French fabrics, ornamental stones and coloured lacquers. Even the Lady Dior is reimagined, not as a fixed icon, but as part of a wider narrative about how heritage can transform.</p>
<p data-start="2857" data-end="3267">Shoes play with trompe-l&rsquo;&oelig;il effects. Silk cyclamen petals sit on slightly upturned square toes, referencing an archival drawing by Roger Vivier. Jewellery continues the exploration. Oval 18th-century miniatures become brooches. Pearls and orchids are hand-painted. Bracelets and rings combine ornamental stones with fragments of meteorite, stretching the idea of nature beyond the earthly and into the cosmic.</p>

<p data-start="3269" data-end="3608">The collection closes with a white wedding dress worn by Mona Tougaard. It marks Jonathan Anderson&rsquo;s first bridal couture gown for Dior. Alongside this, the House will present <em data-start="3445" data-end="3463">Grammar of Forms</em> at the Rodin Museum, an exhibition placing Anderson&rsquo;s designs in dialogue with iconic pieces by Christian Dior and ceramics by Magdalene Odundo.</p>
<p data-start="3610" data-end="3827" data-is-last-node="" data-is-only-node="">Together, these gestures underline a clear belief. Haute couture is not something to be sealed behind glass. It is a living body of knowledge, one that survives only by being used, reinterpreted and allowed to change.</p>

Dior Spring/Summer 2026 Haute Couture show

Dior Spring-Summer 2026 Haute Couture show

<p style="text-align: center;">Celebrities at Dior Spring/Summer 2026 Haute Couture Show</p>

Every Look From Jonathan Anderson’s Debut Haute Couture Show for Dior

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