Early spring in Paris still carried a chill, but outside the Musée Rodin, the air was already warm with anticipation. On the first day of Paris Haute Couture Week Spring/Summer 2026, the fashion world's attention was focused on this venue, with everyone waiting for Jonathan Anderson's first Spring/Summer women's haute couture show since officially taking over Dior. The show's ceiling was covered in moss and cyclamen bushes, and the models wore giant fabric flower earrings, instantly transforming the museum into a dreamlike garden, ethereal and enchanting.
From floral patterns to silhouettes
The show was held in the garden building of the Rodin Museum, where Jonathan transformed the entire space into an inner world enveloped by nature. Cyclamen was chosen as the main theme, inspired by a bunch of cyclamen given to Jonathan by John Galliano, the former creative director of Dior. The moss-covered ceiling and the humid, greenhouse-like atmosphere made one feel as if they had stepped into a garden.
In his clothing design, Jonathan chose to start from Dior's core design vocabulary. The opening hourglass-cut gown, crafted entirely from hand-pleated mesh, was light and airy, replacing the structural corsets commonly seen in haute couture, allowing the body to flow naturally. This silhouette not only continued the floral curves of Dior's New Look but also subtly paid homage to the highly sensual ceramic vase shapes of ceramic artist Magdalene Odundo.
Floral motifs appear repeatedly throughout the collection, from a touch of lily of the valley on a suit lapel to three-dimensional embroidery that evokes a rose garden, all reflecting the brand's founder, Mr. Dior's, deep affection for nature. The inclusion of knitwear is particularly delightful. Sweaters, traditionally considered everyday wear, are elevated to a part of haute couture gowns, showcasing unexpected and exquisite layers through hand-spinning and knitting techniques. This elevates haute couture from a distant art form to a wearable reality.
Handbags and accessories are no longer just supporting elements.
In the past, haute couture shows often focused on the clothing itself, with accessories playing a secondary role. However, in Jonathan's debut haute couture show, leather goods and jewelry became indispensable protagonists. Three-dimensionally shaped handbags were transformed into ladybugs and bees, exuding childlike charm while maintaining the weight of craftsmanship, giving the dream a tangible reality. Jonathan also collaborated with ceramic artist Magdalene Odundo, transforming her signature ceramic designs into the proportions and curves of the Lady Dior bags, with her ceramic works also presented in the exhibition.
The use of materials in the handbags is equally layered. Jonathan repurposed 18th-century French antique textiles into bags, creating exquisite pieces such as silk jacquard envelope bags, mother-of-pearl bags, and alpaca wool satin shawls.
