Dior Haute Couture SS 2026

Jonathan Anderson’s couture debut for Dior felt like watching a house exhale. Presented under a ceiling of suspended blooms at the Musée Rodin, Dior Spring 2026 Couture: In Bloom was a poetic awakening — a reminder that haute couture, at its best, exists in dialogue with both history and experimentation. Flowers, of course, were at the heart of it. Anderson traced them back to a single gesture: a posy of cyclamen given to him by John Galliano, who watched from the audience in his first Dior appearance since his departure in 2011. Those flowers became both symbol and structure, guiding a collection that examined the fragility and endurance of craftsmanship in an age of speed.

Anderson’s interpretation of Dior’s “flower women” wasn’t romantic in the obvious sense. It was sculptural, precise and full of tension — blooms reimagined as vessels of strength. Gowns opened in plissé folds that mimicked petals, while the hourglass silhouette of the Bar jacket re-emerged as a study in restraint rather than nostalgia. Collaborating with Kenyan-born British artist Magdalene Odundo, Anderson drew on the organic curvature of her ceramics, giving form to dresses that felt as much grown as constructed. Feathers turned to scales, petals to glass, silk to shell — couture not as costume but as evolution.

What made the collection sing was Anderson’s refusal to treat history as relic. Archival echoes of Dior’s founders — from Raf Simons’ architectural minimalism to Galliano’s theatrical sensuality — were refracted through his own sharp, questioning lens. The jewellery, inlaid with meteorites and antique cameos, extended his fascination with permanence and decay, while the exhibition accompanying the show opened couture’s gates to the public, reasserting it as both art and education. In Bloom was less about Dior reborn and more about Dior re-rooted — alive, intelligent, and deeply human.