The “New Look”
One of the most famous haute couture houses has yet again graced the fashion world with a new collection. On May 13, The House of Dior transformed the Los Angeles County Museum of Art (LACMA) into a living reflection of their longstanding relationship with Hollywood.
The Cruise 2027 Show brought a deliberately artistic runway, with models catwalking through the second floor and descending down its many flights of stairs. While many of the audience sat patiently, fog spiraled in swirls near the lampposts bases. The dramatic lighting similar to moonlit nights compliments the window blind shadows, perhaps a reference to Hollywood’s golden age and film noir. A classic Cadillac Convertible remains diagonally parked near the far right shining its headlights in the distance.
So began the beginning of the collection—the opening model emerged from the fog in a two tone pale butter yellow and cream chiffon dress. Its fabric flowers against the hipline dropped to a flowy skirt and a pair of kitten heels. This style looks reminiscent of a certain silhouette which dominated the 1920’s— straight, lowered, and loose. Close but not far behind are its two sisters in periwinkle blue, indigo, gray and the other in black and white.
Though there are a total of 76 stunningly visual and aesthetically appealing designs, there is more than what meets the eye at a surface level. I took a close look at each design, from references to Marlene Dietrich in Alfred Hitchcock’s film Stage Fright to the Californian poppies and florals. Though I am by no means a harsh critic, I have nothing but positive words to say towards notable ensembles and certain accessories.
Always in black and white
Film Noir or literally “Black film” is a subgenre that emerged in the 1940s and 1950s with its dead giveaway of dark ambiences and low jazz music scores. Those morally ambiguous characters dominated the Hollywood limelight screens in thrilling intrigues, toned down seductions dipped in mystery, and a strong attention to detail. Crime can run rampant in any storyline, and yet those hard cut shadows contributed to the visual storytelling.
Casablanca (1942) was my first Film Noir, and it was striking! Actor Humphrey Bogart in his role as Rick Blaine stole the show with a cool but detached persona. The pain of heartbreak in the hot desert city in Morocco kept me awake and on my toes, while many of the other classic films waited patiently on my ‘To watch’ list.
Prior to World War II ending 1945, movie theatres were an escape from the harsh geopolitical realities happening away from people’s screens. Hollywood held an important role in shaping cinema, and Christian Dior was a man with a vision. WWII was over, women needed to feel beautiful, a revamp in style for any age in everlasting elegance. Dior married the two—cinema and Parisian flair.
Founded in 1947 and Forever an Inspiration
The Dior Museum in Paris holds many archival couture gowns, while others from the earliest days are in low lights. In 1949 the Fall-Winter Collections most coveted pieces were “Venus” and “Junon.” Dior’s Venus and Junon were attributed to their Ancient Greek pagan goddesses Hera and Aphrodite. Where Venus’s flower-like design compliments its embroidered petals, Junon is a vivid beauty.
The skirt of ombréed petals mimic peacock feathers. Silk Tulle kept the layered structure in place where the navy blue beaded edges shone in all angles. Cruise 2027’s floral and appliqué textures echo this archival techniques of dimensional flowers, layered petals, surface texture built outward from the garment, and shimmering movement.
Jonathan Anderson’s collection as the new creative directionship of Dior is a love letter to its history. The frayed Donegal and Bouclé jackets twisted the original Bar jacket textile into a cinematic language. 76 looks of cinched waists, silk satin bias draping, structured corsetry, and the crinoline volumes echoes the everlasting memory and foundation of the Dior name.
A Hint of Hollywood’s Dior with Analytical Eyes
Glancing at the little details, there are the top four main looks that, in my eyes, are worthy of standing ovations. Lastly, a few favorite accessories that give tribute to prior collections.
Look 11 references the California Poppy, and hot summer sunsets. Fiery orange, bright yellow and scarlet red brings attention to every flower. Like monarch butterflies landing on its petals, the stems obey gravity and sway from a strong breeze. Layers upon layers protrude from every angle, and leave lasting impressions.
All I have to say is, What a look! Primary and secondary colors are not always my favorite but this is an exception that deserves a trophy. Since the dress is the statement, I can ignore the shoe choice.
Hitchcock’s femme fatale elegance holds dangerous glamour, sharp and sensual. Dietrich, the screen siren of noir cinema, wore menswear, and Look 28 is the slightly undone actress-off duty dressing. The masculine collar compliments the relaxed elegance of that “woman in 1930s European film” feeling. That flower and dress in silk crepe or washed silk plissé makes the fabric collapse softly against the body.
It’s so Dior 1940s evening wear coded, and a nod to vintage French Millinery. That red bag in crocodile-embossed leather is so intentional. A vivid Hollywood red, like technicolor in noir films—Im only slightly biased… forgive me but crocodile is so chic!
Mink coats are expensive, and sometimes a needed elevation to simple attire. Look 31 is gorgeous—I mean, the coat! It’s asymmetrical and slips off one shoulder is an old-Hollywood styling move. The textile looks like a jacquard water effect or brushed pile texture with moirè treatment. The wood grain style is reminiscent of antique moirè silk from Dior archives, the only difference is the color. Lovely, stunning, refined!
Dior often put a red dress in the middle of every couture collection to “wake up” the crowd, he loved a dramatic pop of color. Anderson’s Look 63 is this visual climax and reset. This stand alone vivid look is the emotional marker in its collective narrative. The creased folds remind me of velvet curtains on a stage, its flower protruding from the model’s hip like an extension of her.
Velvet is a difficult fabric to work with if you’re unsure how to sew and use it correctly. The cut edges can fray and leave velvet peach fuzz on the floor and stick to clothes, I clearly remember my own frustration. Who needs accessories when this steps into the room?
Though this was not the only red appearance, Look 56 red and white Saddlebag referenced its 2001 “Trailer Trash” Cadillac bag by John Galliano. What *not* a coincidence as the Cadillac car props and this makes an appearance! I love a good throwback, and new saddlebags are always needed!
Before Lady Dior bags were called what they are today, in 1994 it was under the name “Chouchou,” meaning favorite in French. When the First Lady of France, Bernadette Chirac, gifted the Dior Bag to Princess Diana, Dior officially renamed the bag to “Lady Dior” in her honor in 1996.
This collection features two houndstooth textured Lady Dior Bags in Look 47 and Look 39 with the iconic “Dior” chain on its side. I love the intentionality and Dior’s influence on a worldwide and royal scale. In small but powerful details, Dior reminds us luxury is not only worn; it is remembered.
This is Savoir-Faire
More than another collection, Dior Cruise 2027 is proof that fashion is capable of preserving memory for the modern eye. Dior’s Savoir-Faire: The mastery of couture techniques has been passed through generations of ateliers and artisans.
Whether through softness of silk plissé’s, textures, or hand finished floral corsages, Anderson understands that Dior is a living archive. Every pleat, flower appliqué, velvet fold, and structured coats carry its intention behind its creation. Hollywood may have inspired its atmosphere but Dior is its beating heart, and within its wardrobe are carefully stitched legacies.