With fashion’s ultra-democratization, mood boards are no longer under lock and key—nor is a subtle reference only something your most cultured friend can spot and tout at a dinner party. “Digital media has created unprecedented access and documentation of a designer’s process, and I think the public relishes seeing these connections,” art historian Amelia Marran-Baden (a.k.a. @Meelzonart) tells Vogue. “Fashion has become bigger than a garment. It’s about building worlds. People enjoy feeling like they are sharing in the designer’s creative process. Perhaps designers and brands are reacting to that interest and inviting us accordingly.”
This world-building continues off the runway too. (A show is only 15 minutes, leaving roughly 130,000 more to occupy the internet’s mind before the next one.) For Dior’s Jonathan Anderson, the immortality of cinema is a perfect answer, especially given the designer’s previous costume projects with director Luca Guadagnino for Challengers and Queer. Last week the French house took to LACMA’s brand-new David Geffen Galleries to re-declare its love for Hollywood. A white bar jacket referenced one made for Marlene Dietrich, who once declared on the set of Alfred Hitchcock’s Stage Fright, “No Dior, no Dietrich!”
One Dior x Ed Ruscha shirt reads “Says I, to Myself Says I,” referencing both the artist’s 2024 painting and Gagosian show of the same name.
Photo: Umberto Fratini / Gorunway.com
Anderson also collaborated with American pop artist Ed Ruscha, whose shadowy, distorted lettering emblazoned a series of button-up shirts. Beyond film, Anderson’s Dior has been noticeably art-centric from the very beginning. “He anchored the set of his first menswear show with two [Jean Siméon] Chardin still lifes, A Basket of Wild Strawberries and A Vase of Flowers,” notes Marran-Baden. “His inaugural couture collection was inspired by the work of ceramicist Dame Magdalene Odundo. He transformed the Bassin Octogonal into what was essentially Monet’s water lily garden at Giverny.” Much like this year’s Costume Institute exhibition, “Costume Art,” Anderson places his proclivity for clothing and fine art on an equal pedestal, and at Dior, he is making a point to continue to do so. With culture as currency, luxury fashion has never had a greater vested interest in showing off its artistic endeavors, and brands are using this US-centric resort season to go all in.
