In the last quarter of 2024, the fashion industry saw a complex and tricky turnover at nearly every major fashion house worldwide. Often referred to as the “biggest thing to happen in fashion in years,” it brought some fresh faces to influence international fashion next. After arguably the most complicated round of musical chairs at the biggest houses in the world, Jonathan Anderson landed a seat at Christian Dior in Summer 2025 after his wildly successful tenure at the leather goods house Loewe. In addition to his eponymous brand, he oversees approximately 18 collections a year. Anderson recently debuted his first haute couture show– named “Wunderkammer”, or “cabinet of curiosities” for Dior on January 26. This was days after his second Dior menswear show, both showcased at the Museé de Rodin in Paris.
Textures have always been extremely prominent in Anderson shows; in fact, at this springtime extravaganza, we almost see that through a magnifying glass. In truth, the fashion industry has always been obsessed with textures, fabrics, and materials– and this sentiment is amplified in the haute couture world. “Haute couture,” or high dressmaking, refers to the practice of exclusive, custom-fitted, and bespoke garments, as distinct from “ready to wear” clothing.
Clothing is not the right way to label what Anderson has put on the runway, but rather sculptures. From shredded organza to synthetic “grass” made out of fringe, he has conjured a spring fairytale for his debut. Anderson opens the well-anticipated show with a trio of an elongated version of his ready-to-wear show opener, which occurred last October. Coming down the runway in three different colourways, a bulbous, pleated dress was accompanied by an array of orchids dangling from the models’ ears. Even more eccentric silhouettes follow the opening three, each protruding from different angles of the body.
Another shape seems to be making prominent waves in Anderson’s debut as well: fan-shaped scales. The scales, almost fish-like, appear on an array of items such as heels, clutches, and even a dress, a bit reminiscent of his time at Loewe. It truly seems as though he is utilizing these small elements in the collection to tie it all together, in true Jonathan Anderson fashion, no pun intended.
Some standout looks are look 4, which showcases a tornado of black and white mesh on the bust of the garment, then quickly closes in to flow down the model’s legs; look 8, a minidress made almost entirely out of layers of ruffles paired with hydrangea-like earrings and heels; and look 41, a bold Cinderella blue blazer coupled with a scaled-feather skirt and smooth slacks.
However, this collection is not all about meshes and fluidity; other textures and fabrics, such as leather, tweed, and dense embroidery, also make timely appearances in the Wunderkammer, manifesting in striking jackets and gowns.
Anderson has always thought outside the box, but this time, he closes the Dior “Wunderkammer” Spring 2026 Couture show with a classic bride, look 63, adorned head-to-toe in flowers and petals.
After being in the spotlight for the past year, scrutinized for every decision he has made, Anderson has delivered with a standout collection. Although it is not uncommon for designers to be examined under a microscope, especially for cult brands or those in the limelight, Anderson has been thoroughly picked apart for the entirety of his first year at the house. Anderson is leading the house of Christian Dior in a more avant-garde and experimental direction. Alas, the couture shows are not for the general public, as pieces range upwards of six figures.
A big question that comes to mind for most people when looking at fashion– especially haute couture– is who is the audience? Who is buying these abstract pieces of clothing that look more like installations than something to cover your body? That’s a topic for another article, but long story short, it is simply an expression and manifestation of the “dream” customers buy into.
Sources: Vogue Runway