Paris’ Jardin des Tuileries has long hosted Dior’s runway shows. Each season, the house builds a monumental space in the center of the gardens—just steps from the Louvre—to stage its latest collection. For his second Dior women’s ready-to-wear presentation, Jonathan Anderson continued the tradition, but this time in the middle of the Bassin de l’octogone, enclosing the artificial water lily-filled pond with a enormous, greenhouse-like structure.
The garden is a focal point for the house of Dior, and today, for Fall/Winter 2026, Anderson used Paris’ most famous gardens as the starting point. Across Europe, these gardens were not only a chance to find nature in the middle of the city, but to see and be seen. It served as part of its purpose back in 1667—when the Tuileries were opened to the public—and thematically continues into the present day, as Parisians and tourists alike promenade through the gravel paths, perching on the iconic green chairs, (which Anderson included miniature versions of for the show invites) circling the ponds, witnessing each other through different lenses of life.
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We saw these varying viewpoints throughout the collection. The first three exits offered a series of layered tutu skirts with frilled trains, paired with jackets of different materials—a textured grey peplum jacket, an organza ecru appliqué floral jacket with tiny buttons, and a silk, feather-printed brocade jacket with a mandarin collar. Anderson’s present task is to redefine Christian Dior’s visual language with his own signatures, while preserving the codes of the house. We all know that he's a skilled archivist, and his brief time at Dior has only cemented this through his use of florals, his reworking of the Bar Jacket—which today was reworked with the same mandarin collar and tens of miniature buttons, or interpreted as a cropped, double breasted version layered with masses of ruffled fabric at the hem—and his shifting of the brand logo back to the original format.
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There were moments that felt typically him, like a brown overcoat trimmed with pale blue ostrich feathers or a pair of embroidered jeans styled with suede heavy-soled boots. Shoes featured a series of lily and rose motifs at the toe straps, while hems were manipulated with wire to create dramatic, ripple-like shapes; there were varying propositions of volume in the skirts, which morphed from minis to layered midi skirts and fluid, full-length or asymmetric maxis.
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Dior’s New Look silhouette was not forgotten about, either. Most of the waists for FW26 were cinched, hips exaggerated with bolts of lace fabric or loosely pleated folds of wool and silk to create volume where Monsieur Dior intended. The use of the house’s emblematic grey was present, too, in suiting and heavy overcoats, while house classics, like Marc Bohan’s monogram, were offered in the form of a sweet, simple crossbody bag, and Maria Grazia Chiuri’s Book Tote was scaled down and re-printed with the current framed Dior logo in forest green.
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Anderson plays with sentiments of the real and the unreal with an ease. His use of florals this season felt reflective of the show space, melting scenography and tactility together so that printed silk looked as though the water was reflecting off of it, or the movement of a skirt mimicked the movement of nature. Within these sentiments, was also a grounding in the city: heavy evening coats for a night out, worn slouchy like a Parisian woman would, or a great blazer with a worn-in jean for the office. Eveningwear was heavy on lace panelling exposing just enough, silk black bows fastened to dresses adding both refinement and interest. The relaxed professional woman was flanked by models in party dresses, all mixed up together—just as it is when you take a stroll on a sunny day through the Jardin Des Tuileries.
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