For his first Cruise show for Dior, Anderson brought the house to LA with a collection inspired by cinema, old glamour, and California poppies.
Held at the Los Angeles County Museum of Art, Dior Cruise 2027 looked at the house’s long relationship with cinema, particularly its connection to Old Hollywood. One of Anderson’s starting points was a jacket from Dior’s Spring Summer 1949 Haute Couture collection, worn by Marlene Dietrich in Alfred Hitchcock’s Stage Fright. She reportedly told Hitchcock, “No Dior, no Dietrich,” making it clear that if she was going to appear in the film, Dior had to dress her.
From there, he built a collection around dressing up, character, and the idea of Los Angeles as a place where image and fantasy are part of everyday life.
Related story: Dior Fall 2026 at Paris Fashion Week turns the Tuileries Garden into a runway
Related story: Flowers bloom in motion at Jonathan Anderson’s first Dior haute couture show
LACMA became Dior’s Hollywood set
The show took place just after sunset on the grounds of LACMA, with the museum’s architecture lit like a film set. Streetlamps and vintage convertibles added to the cinematic mood, making the runway feel like a familiar version of LA seen through the movies.
Anderson did not use that reference as a reason to simply recreate Old Hollywood. Instead, he treated it as a way into the larger idea of dressing up and becoming a character.
“It’s this idea of dressing up,” Anderson told The Guardian. “There will be characters that I have done as if we have made costumes.”
The collection included wool jackets with frayed cuffs, embroidered lace evening dresses, patchwork scarves, shearling coats, satin dresses, sequinned pieces, pajama-style shirts, and leather trousers. The Bar jacket, one of Dior’s most recognizable signatures, also appeared with a more undone feel, including frayed details and worn-looking denim.
The California poppy
Dior’s own show notes described the collection as coming to life “like a field of Californian poppies in late Spring,” connecting the house’s love of flowers with the Los Angeles setting.
The poppy appeared through floral textures, rosette details, and soft embellishments on dresses and shoes. It gave the collection a lighter, more romantic side without turning the whole thing into a garden theme.
Anderson also brought in a flash of fun through feathered headpieces by Philip Treacy. Some spelled out “Dior,” while others used words like “Star,” “Flow,” and “Buzz.”
Related story: Dior Homme’s Winter ‘26-‘27 show is Jonathan Anderson having more fun
Dior’s men and women shared one runway
Cruise 2027 also marked a notable first for Dior: menswear and womenswear appeared together on the runway. Anderson now designs across both sides of the house, so the show became a way to present one shared Dior world instead of two separate things.
For menswear, there were sequinned suits, shirts with leather trousers, and American-style shirts made in collaboration with Los Angeles artist Ed Ruscha.
Ruscha’s text-based work is strongly tied to LA, and his collaboration brought words, letters, and numbers into the collection. Anderson told Wallpaper that working with Ruscha had been a goal for years, saying, “I had wanted to do something with him for years, but he had said no. So that was my mission.”
The accessories also carried Anderson’s version of Dior forward. New bag shapes included a minimalist update of the Saddle, a bucket bag with a Dior Médaillon, and a shoulder bag with a crescent-shaped base. These sat alongside more playful pieces, including embellished minaudières. The shoes continued the show’s mix of glamour and play, with flowers and sequins used as details.
Anderson seems interested in Dior beyond the runway
The front row helped complete the Hollywood mood, with guests including Jisoo, Anya Taylor-Joy, Miley Cyrus, Sabrina Carpenter, and Al Pacino reported at the show. But Anderson’s point seemed bigger than celebrity dressing.
He has already worked in film costume design, including for Luca Guadagnino’s Queer and Challengers. In interviews around the show, he also suggested that Dior’s relationship with cinema could become a larger part of the house’s next chapter. As he said, “This is part of a bigger picture that will unfold throughout the year, from films that I will do costumes for, or franchises that we will do costume for… it’s a starting point of how the bridge between fashion, commerce, and film could be reimagined,”
See the whole collection below:
Related story: Dior embraces everyday opulence in Pre-Fall 2026 collection
Related story: Jonathan Anderson’s first Dior womenswear collection marks a confident rebrand
