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Hypebeast
5 hours ago
- Entertainment
- Hypebeast
Jonathan Anderson Is Ready to Recode the House of Dior With His Debut SS26 Men's Collection
Summary It was a breath of fresh air atDior. Ringing in a new era withJonathan Andersonat the helm of Dior, the luxury fashion label debuted a new vision under the designer with itsSpring/Summer 2026menswear collection. Showing atParis Fashion Week, Anderson began his new role at Dior with the reveal of a new but old logo change. Speaking toVogue Business, the designer commented on the importance of drawing inspiration from Dior's heritage. Anderson revealed that he first began with the Dior branding label, reaching back into the house's archives to refine the block letter aesthetic. Refining the text, he brings the old with the new, as the Irish designer attempts to rebuild the house. Expectations were high for Anderson's menswear collection as it set the tone for the future of the house of Dior. An event poised to redefine the codes of the venerable Parisian house, the industry is keenly watching how his unique blend of conceptual artistry and modern craftsmanship will intersect with Dior's storied legacy of elegance and precise tailoring. His debut collection is a play on history and affluence, as he decodes the language of the house before he attempts to recode it. While the show had a miles long attendance of A-listers, the set was a nod to the importance of art. In a room modeled to mirror the velvet-lined interiors of Berlin's Gemäldegalerie, featuring two beautiful paintings by Jean Siméon Chardin (1699-1779). An understated commentary on creating art o display, the museum room setting fuels a sense of liberation and joyfulness amongst masterpieces. Joy is brought from the art of dressing. As the collection unfolds, all eyes are on how Anderson navigates Dior's foundational principles—the New Look silhouette, the exacting tailoring, the subtle luxury—through his distinctive lens. Will we see his characteristic play with proportion and volume? How will his love for tactile, artful textures manifest within Dior's sophisticated fabrics? His past work often subverts expectations, offering garments that are both familiar and entirely novel. For Dior Men SS26, expect a collection that dialogues with history while speaking a distinctly contemporary language, setting a compelling new direction for the brand's future. Anderson reimagines the Bar Jacket in an an Irish Donegal tweed—a nod to his own heritage. A common theme in the collection saw the designer deconstruct formality, with ties worn backwards and cape-like overcoats paired with short trousers and sporty tube socks. Tuxedo shirts and waistcoats were paired with denim, with some even with silk evening scarves. Historical references are given a contemporary twist, bringing 18th and 19th-century French menswear a modern silhouette. Even accessories spoke volumes: the Dior Book Tote received a masculine makeover, featuring literary covers like Charles Baudelaire'sLes Fleurs du Maland Truman Capote'sIn Cold Blood. Smart pastel knits, round-toed CD loafers, suede logo-emblazoned slippers, and elegant sandals showcased a readiness for the market.
Business of Fashion
15 hours ago
- Entertainment
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
PARIS — The enormous tent constructed in the Place Vauban for Jonathan Anderson's debut at Dior was printed with a silvery evocation of the past, a monochrome image of Christian Dior's decorous couture salon. Fast forward to the present, 75 years later. That tent had been exhaustively climate-controlled to allow for the hanging of two paintings by Jean Siméon Chardin, the 18th century artist who is regarded as the master of the still life. He was a favourite of Dior's, Anderson's too. The Chardins were his idea. So was the inspiration for the showspace, clad in velvet like the Gemäldegalerie in Berlin, home to one of the finest collections of European art from the 13th to the 19th century. One Chardin came from the Louvre, the other from the National Gallery of Scotland. Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. To isolate the most striking carryover from the past in Anderson's debut collection: Maria Grazia Chiuri's wildly successful book tote reappears rendered as the covers of specific titles, In Cold Blood, Bonjour Tristesse, and, luridly best of all, Dracula. ('Because it's Irish,' he said archly.) He compared the learning process to doing a PhD in Dior. What did he come away with? 'I feel the name is bigger than the individual designer. It was always like that. So that was the whole idea for me.' Dior Menswear Spring/Summer 2026. (Spotlight/ There will undoubtedly be plenty of people who look at what Anderson showed on Friday and question his concept of permanence. 'My idea was to decode it to recode it,' he explained, sort of. 'That's how the collection was built.' Take the first look, practically a manifesto in one outfit. 'How I feel I'm going to tackle men,' Anderson declared. 'Formality, history, the material, Irishness.' The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' Fashion as an act of faith: Anderson mastered that challenge at Loewe, and, if early reactions are any indication, he'll be able to translate that mastery to Dior. Dior Menswear Spring/Summer 2026. (Spotlight/ Finding the future in the past is not a particularly novel concept, but if I think for a moment that everything Anderson has done is almost like a movie, it clarifies how he was able to draw such an extraordinary cast of characters to Loewe and his own brand. One of them, director and frequent collaborator Luca Guadagnino, has been tracking him all week with a film crew. The designer talked about the looks in the show that were pure youthful street as his acknowledgement of Jean-Luc Godard and the nouvelle vague that transformed French cinema and French style, from New Look to New Wave. Anderson said it's also about him getting used to living in Paris, trying to work out what he loves about the city. 'I'm on Île Saint-Louis and there's something about this idea of tight grey corridors that have light at the end. No matter when you see people, they're always backlit. And everything looks great backlit. I find it fascinating because it feels like cinema somehow, and really that is how we approached the challenge.' Dior Menswear Spring/Summer 2026. (Spotlight/ The city is currently plastered with posters of artist Jean-Michel Basquiat and footballer Kylian Mbappé, the faces of the new Dior man (or, as Anderson says of Mbappé, 'a new vision of France'). 'I have to find a new language,' Anderson said. 'It's going to take time, and I don't want to be rushed. Anything is possible. At the end of the day, it's a job. And you always have to remind yourself that you love the work and you're gonna get the job done.' Consider this debut a great appetiser for the much more complicated meal to come. Dior Menswear Spring/Summer 2026 Dior Menswear Spring/Summer 2026 look 1. 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Yahoo
27-01-2025
- Politics
- Yahoo
Exhibition of paintings evacuated from Odesa opens in Berlin
An exhibition of works evacuated from the Odesa Museum of Western and Eastern Art has opened at the Gemäldegalerie in Berlin. Germany's President Frank-Walter Steinmeier attended the opening. Source: The Art Newspaper Details: The exhibition, From Odesa to Berlin: European painting from the 16th to the 19th Century, was funded by the German government. Many of the paintings on display were shipped from war-torn Odesa without frames. The exhibition brings together 60 works from the Odesa museum's collection – by artists such as Frans Hals, Cornelis de Heem, Bernardo Strozzi and Francesco Granacci – with paintings from the Gemäldegalerie's collection. Staatliche Museen zu Berlin Photo: David von Becker Quote from Steinmeier: "Odesa's beautiful old town, where the Museum of Western and Eastern Art is situated, has been attacked by missiles time and again. In countless Ukrainian towns and cities, listed buildings continue to be damaged, cultural institutions destroyed and works of art stolen." Details: The German president also noted that "attacks against museums, theatres, operas and libraries are intended to wipe out Ukraine's cultural memory". Staatliche Museen zu Berlin Photo: David von Becker Staatliche Museen zu Berlin Photo: David von Becker Admission to the exhibition of paintings from Odesa is free for Ukrainians. The exhibition texts and catalogue have also been produced in Ukrainian. Quote: "I hope that this exhibition will be seen by many people from Germany, Europe and around the world. I hope that Ukrainians who have found refuge here in Germany will find a piece of home in the paintings." Details: Steinmeier added that he hopes all the paintings "can be returned soon to where they belong: to the Museum of Western and Eastern Art in Odesa, in a free and independent Ukraine in which nobody has to fear bombs or missiles". The exhibition will run in Berlin until 22 June before moving to another German city, Heidelberg, in October. How the works from the Odesa Museum of Western and Eastern Art were evacuated Before the full-scale invasion, the Odesa Museum of Western and Eastern Art, founded in 1923, had an extensive collection of European paintings, sculptures, prints and applied art dating from the Renaissance to the twentieth century. Shortly after the Russian invasion on 24 February 2022, the most important paintings were moved to an emergency storage facility in Ukraine. Concerned that the facility would not be able to fully protect the works of art, Ukraine asked Berlin's museums for help. In September 2023, 74 works were brought to Berlin and treated by conservation specialists at the Gemäldegalerie. Restorers unpacking paintings in Berlin in 2023. Photo: Sabine Lata Support UP or become our patron!
