It's always brilliant.
Dior!
Paris! Dior Haute Couture!
She's hot! She's hot!
Jonathan Anderson does his second Haute Couture collection!
They're probably still stitching it.
Oh, so beautiful.
We're in the ateliers with the genius seamstresses!
That's what's interesting, it's fascinating!
We're never bored.
It's going to be pretty!
This is giving premier d'atelier!
You're kidding me?!
I would never!
The grand couturier explains his inspirations.
It looks like something they could eat.
They could definitely eat it.
Jonathan Anderson's creative process for this collection started by looking at the sculptures of the American artist Lynda Benglis.
I think she's one of the greatest living artists.
We talk to Ethel Cain!
Aww!
Oh, hi!
I'm really happy to be part of this next one.
The wedding dress!
Do you think that was Taylor Swift's wedding dress?
Every time we go to the atelier tailleur, we're happy to see Nadège!
She's the second head of atelier, and she's all smiles and clear explanations!
This season is special for her.
I have been with the house for 43 years, so that must be 86 collections.
That's a good track record.
I've done more than Christian Dior.
Welcome to the Dior Haute Couture.
Paris, 6th of July 2026, and it's the third heatwave in a row.
The capital of fashion needs a fan!
Luckily, Haute Couture week is here for the fresh air!
The inspiration!
How excited are you for the second collection?
Sabrina Carpenter, Min-gyu, Marisa Berenson, British painter Rachel Jones.
What are you most excited for?
The whole collection I'm excited to see.
Ella Bright, from Off Campus, and she sits next to Ethel Cain.
I think it's stunning!
How light are his clothes?
They're so light.
It's so funny, when I saw this today at the fitting, I thought it was going to be so heavy, but it's just so soft and so light, it feels like it's not even on me.
So it's lovely.
Olympic champion, Eileen Gu.
Ejae from KPop Demon Hunters.
Flowerovlove.
This is my first Dior couture show.
The best one, might I say.
Anna Wintour and Baz Luhrmann!
And they greet Sabrina Carpenter.
From Love Story, Grace Gummer.
Ruth Negga.
He's got such an original aesthetic.
And I'm such a big fan of him.
And it's not just because he's Irish.
Dree Hemingway, Priyanka Chopra Jonas and hubby Nick Jonas Chopra!
And they greet Pharrell Williams and his beloved Helen Lasichanh.
Oh my goodness! Oh my goodness!
How are you doing? You're having fun?
In this heat? How sweaty do I look right now?
Oh, you look impeccable.
I'm wearing my pajama shirt.
Director and Charlie XCX close collaborator Aidan Zamiri! And Dara!
They tried to find me out of this heatwave.
Is it fogging up a bit?
Are you here all week boiling in the sun?
Exactly!
I don't know how anyone does it.
Well listen, when you love it, you do it.
That's true.
That makes it less difficult when you love it.
Exactly.
Good to see you!
Go go go!
You were there too, hiding in plain sight.
What's the mood of your look?
The hair is from the last collection, so I wanted to bring something in.
And then the other mood is just a rich, chic lady.
And Vivian Bond.
What is the energy of your look today?
I wanted to be like an ancient cam cam girl dressed up like a young cam cam girl, because I'm a girl who can.
And one cute moment is Josh O'Connor and his mother and father.
Thank you so much!
I can't wait, it's great.
Laura Kaiser opens the show.
Her pleated stole in shearling gives you the idea of movement that is the major theme of the collection.
How did you come to be interested by Lynda Benglis' work?
I have loved her work for about 20 years. A very dear friend introduced me to her work, and I always come back to her. I think she's one of the greatest living artists.
I like this idea that it kind of is a gesture. They become quite fragile. They're not using synthetics.
When you look at Dior, you look at how people have interpreted Dior over the years, it's a gestural act.
It's sort of like the hats are done with the material that Lynda uses, where it's just like you're pulling it into a shape for that moment.
Julia Nobis in Omega.
Cocoon-like cape coat in tweed.
Betsy Gaghan.
The concept behind her Haute Couture jacket is that it is made to your exact measurements, down to the millimeter, and the ateliers take pride in eliminating, smoothing away, and concealing every minor imperfection of your body as explained by Rocco Baldassaro, the head tailor.
Does that mean that if I buy a suit, you're really going to regulate my...
We take your measurements, it's a bit like when you go to the doctor.
We examine your body, your shoulders, and any asymmetries.
Then we adjust our mannequin based on your measurements and body type.
We already get a visual idea of what it might look like if a shoulder pad needs to be added, to see the shape a bit.
If I have one shoulder that is lower than the other, can you fix that for me?
The show venue is a black temple of modernity with French chevron parquet and fern trees.
The set is, I like this idea of trying to build a microclimate.
It's like you're breaking down the third wall, you have the garden of the Rodin, you have this kind of black space made out of a parquet, and then you have Tasmanian ferns that are kind of in their pots.
They cut the floor out and they're all underneath growing, and they're coming up through a domestic space inside a kind of microclimate.
At the moment the Rodin has like hundreds of rabbits for some reason.
Yeah, and baby rabbits, lots of baby rabbits.
Oh wow!
It looks like something they could eat.
They could definitely eat it.
No, but it's quite nice that the nature comes in to a man-made space with nature inside the man-made space.
There's something about it that was interesting.
Mona Tougaard.
All the motifs are very dynamic.
Very!
When Lynda makes these sculptures, it's kind of like... and then she locks it in time.
She did this amazing body of work, which is all knots, which we're seeing covered in glitter.
There's something quite muscular in her work, but at the same time there's a fragility, there's a lightness, there's like a kind of playing with taste.
Lynda Benglis is the inspiration, but who is Lynda Benglis?
Nine D'urso revised before coming to the show.
I didn't know her.
Included with the invitation was a short monograph of Lynda Benglis.
So we were able to familiarize ourselves with her work beforehand.
And incredible, she works with exceptional textures, and iron and fabric and knots.
It's very complex, it looks very raw when you see it.
And at the same time, if you look very closely, it's very, very, very precise.
It's couture!
Mali Koopman. The sequins on the tweed jacket are hand-embroidered in the ateliers with the utmost care.
What do all these stitches we see here correspond to?
All of that is embroidery that was done.
Ah, you mean each sequin was added?
Yes, everything is done by hand.
Did you do the embroidery?
No, no, we have a specialist for that.
It's magnificent.
I think this jacket has a beautiful line.
The complexity of this lamé bow within the sunray pleating, 'plissé soleil'.
It's a lamé that was hand-painted and then pleated afterwards.
We made the knot.
Yeah.
whose continuity is an illusion.
Exactly.
Oh, this is my bestie. We see each other all the time.
Everything feels like a painting, and I feel like there's so much detail put into everything, and it's so important.
And the way Jonathan does it, like he's a mastermind.
And this, the detailing is insane.
Glorianny Saint Fleur. Are those pleats in wool?
But how is it done? Let's head to the workshops.
How do you pleat wool?
The same way you pleat other fabrics, meaning in a cardboard mold.
There are two sheets of cardboard that sandwich the fabric, which are already pre-folded.
All three layers, meaning cardboard, fabric, cardboard, are folded together, held, tightly clamped, put in a oven, and after that it comes out and it's pleated.
Oh okay, you can do that with wool too, I didn't know.
About how much work time is that for you?
How long have you been working on it?
A while.
I think we're looking at two or three weeks of work.
And on top of that, I wasn't all alone because this takes a very long time to do.
You have a little strip like this that was originally full.
And then, we remove it thread by thread to create the fringe.
You removed the threads that were horizontal, is that right?
Right, that's it.
One by one?
One by one.
That's why it takes so long.
Note the different fraying technique for each garment.
Ah wow, fringes are really in this season.
It's fringe.
It's fringe?
To get the fringes, you really have to use forceful movements.
We manage since it's a fabric that can't easily be frayed.
We tried all the necessary tools, for example with a pin, but it takes days and days.
It's not possible.
The movement is crazy.
The movement, like this.
There you go.
And it gives you this.
Hejia Li wears PISSENLIT.
There!
What do you think of Jonathan's haute couture?
So far I'm obsessed with it. I mean I know that's the word everybody uses but if I'm in a bad mood or if I just think the world's ugly, I just flip through Jonathan's collections and it cheers me up.
I mean, you know, I just love beautiful things and as I always say, glamour is resistance.
Imane Benkaddour.
We need the explanation of the highly distinctive pleating.
Meticulous precision.
First we had a Fortuny pleat and on top of the Fortuny pleat, we did a sunburst pleat.
So there are two pleating stages. It's quite extraordinary work.
The whole piece was worked on and pleated like this.
This work is very, very beautiful.
What are you doing right now?
I'm in the process of adjusting all the pleats.
As Philippe was explaining, it's pleated in both directions.
So we have to find the right drape for each pleat.
It will affect everything, the height, the width.
So right now, I've arranged it so the pleats fall quite nicely, and after that they'll live their own life.
That is to say, they will free themselves as we go along.
We try to tame what we can.
The chic will come together.
Absolutely.
In terms of difficulty out of 100, what is that?
Over a career?
Ahah!
80%.
Today, 90.
Over a career.
Yes, exactly.
Couture! There's nothing quite like it.
I love his work because of the combination of the edgy, modern field, whimsical and also very classic as well.
You know how much work has gone into it, all these people who spend hours, I'm sure, through the night in the last week just to get things finished and that takes extreme hard work, patience and vision.
Mahi Kabra.
We were there when they cut the fabric a few days earlier, and this is haute couture, the pattern matches up, the ferns must line up perfectly and they do!
What kind of material is it?
Silk.
Silk?
Yes.
Fern silk.
The theme is fern this year.
Are there ferns everywhere?
Everywhere.
Hello.
That's the body.
Oh, no.
Show me what you've done.
Actually it's about the pattern matching.
So Vahine cut, trying to match the pattern of the fabrics, which isn't easy because the foliage is very different.
With a tartan, you always have a repetition.
Whereas here, with a flower, you never do, you have to figure out how to piece them together.
When you look at the jacket...
Oh yes.
So here I have the same stem.
Yes.
And here too.
There you go.
Oh yes, here too.
Yes.
Such a headache.
She's an artist, my Michelle.
No, you are the artist!
You like that.
Yes.
For me, that would be my nightmare.
Yes, but well, holding the camera would be my nightmare too.
So you know how to do everything.
Yes, multitasking.
Multitasking.
That's what's interesting.
It's fascinating.
You never get bored.
It's great.
It's going to look pretty.
Did you have fun?
Yes, I really like it.
Pattern matching, the prints, it's fun to do.
Do you like a challenge?
For a cutter, yes.
Ah, yes.
What kind of scissors are they?
They're Kai.
Japanese scissors.
Here, you have a size like this.
You have a size like that.
What's the difference?
This is really for cutting heavy tweeds.
And this is smaller, so it's easier to handle.
And it cuts well.
Is it lightweight?
It's not very heavy.
Oh yes, actually!
Yes, yes, yes.
It needs to have some weight to give you a firm grip.
When it's too light, it moves around a lot.
Whereas here, you need to avoid that.
These are factory scissors.
They're for cutting through thick layers.
Oh wow.
Oh yeah.
And it has really evolved since then, fortunately.
You put your hands underneath to hold it.
There you go.
And then you cut like this.
But well, we've kind of abandoned that.
Better not mess with you on that day!
Alaina Rae wearing the bar jacket, a piece that gave the tailoring atelier a real challenge, as explained by Rocco Baldassaro, the head of the tailoring atelier.
Can you show me this jacket?
You see here, we printed the chiffon.
Now, once we've stitched the entire base of the jacket, Julie is draping the chiffon over the body.
Afterwards, once we have finished our part, the embroidery team will arrive to be able to embroider the waist section and the back of the jacket.
What are you doing?
I'm preparing my seam because it's a very fluid fabric.
Your needles shouldn't mark the fabric, I imagine?
No, no, that won't leave marks, these are super fine pins.
These are classic pins and these are super fine pins.
And that's so it doesn't mark the fabric?
Yes, exactly, that's for all fabrics and we use that all the time.
We shouldn't panic, right?
It's fine.
Jessie Craig.
Rest assured, this was created in a spirit of serenity.
Dior!
Trompe-l'oeil tie-front draped dress in double-face black and ecru silk satin.
It's innovative, it's theatrical, it's beautiful.
The last show I saw was so stunning.
And you know, it's a different kind of theatre, right?
It's not my world, but I love coming into it and just being a cutout.
You know, I love it.
It's a kind of play.
It's a kind of play, exactly!
It's so inspiring, it's just, it's beautiful.
All the bags, we're doing a little documentary on the history of 18th century Indian textiles and French 18th century textiles and the idea of chintz and how they both spoke to each other and how they became such a trend.
We have done micro-mosaic in Italy.
These are all porcelain and all hand-painted.
These, the bows are different.
This is on metallic porcelain and then hand-painted and then you have the fern which creates the bow.
This is by Lynda.
Cactus.
Pavade.
Lynda did a take on Cigale.
All the jewelry is made in India.
He's a magician and he thinks in this creative way that's beyond, you know, for any creative artist, you have these moments of pure creativity.
Jonathan has them on a regular basis.
Yun Seo Woo.
The skirt was executed with a stylish Dior-style manicure, just the way we like it.
The skirt was executed with a stylish Dior-style manicure, just the way we like it.
You're doing that in high heels, I love it.
No, but your nails, that's unreal.
Is that the cannage?
Yes, that's the cannage.
Where did you get your nails done?
It's a girl who does my nails in Montreuil.
Really?
It's awesome.
She does it freehand, there's no stencil, nothing.
No way.
Yes, yes, it's freehand.
I first pinned panel by panel into the base of my pleats to have the same pleats on the lining as on the fabric.
So there are three pleated panels.
So I sew and then I put it back on the mannequin to see if anything moved, and I readjust my pleats as I go.
Is it a nightmare or is it okay?
No, it's fine.
You know it's not easy coming into a house like Dior and take over and fill these shoes, you know?
So I think the creativity and his guts is something I very much admire.
How would you recommend this hair for privacy?
It's very good for privacy, but for private life, not so great.
It's only good if you have a husband...
...that's a hairdresser, you know, always have a husband that's a hairdresser.
Camille Desjardins.
That's something you've never done before.
Ah no!
Here, we have behind a fan which is absolutely magnificent.
It's actually a work by Lynda Benglis.
So we developed metal separators that allow us to hold the fan.
With embroideries, each piece was hand-embroidered in different workshops in Paris.
The tulles were cut progressively with a whole layering of colors to get as close as possible to the original work.
How are you going to attach it?
Actually, we're going to attach it right here over the top.
But isn't that going to completely pull the dress down?
No.
Well, that's a whole process that was done in the workshop.
So there's an entire system.
We sew lots of French wire to try to make all this pleating and creasing work permanent.
Because it still needs to hold up afterward.
What kind of dance do you think I can dance in this dress?
A tango maybe, that's not bad.
That could be pretty good.
And Clément stole ammunition candies from the workshops, that's not right.
You steal the supplies.
You steal the...
Well, there you go.
He stole candies.
Fei Fei Sun in an asymmetric twisted coat in ecru and black tweed with hand-frayed fringe edging and black feather dandelion embroidery.
They were a three-person team on her coat.
The clothes will be sent to the studio for a fitting so they need to hurry, they only have ten minutes to be ready, so that it can go.
América Gonzales wears Arizona.
A revisited iconic Dior coat, a red coat from 1948, but done in handpleated cashmere.
Arizona, Monsieur Dior, Mystère, Jonathan.
It's a sunburst pleat in cashmere.
It's actually inspired by the Arizona model.
There were patch pockets, a bow, storm flaps.
And here, this is actually the inspiration for that.
Here, it's the same, we made a pleated patch pocket.
We made four, five, six, and seven pockets.
And we managed to find this because he wanted the flap cut from the same piece, so that it stays like the original, the patch pockets.
A little petticoat.
Oh yes, is it horsehair?
Horsehair strips with tulle.
It fills out the space.
It's needed.
And what's this?
That's the lining.
No way!
We're currently tracing the entire pattern of the pleats to ensure it matches, because from here, we have fringes that have to fall.
But there are three days left.
And there will be the fringes on this one.
But there are three days left.
We'll make it.
How much of a pain is it on a scale of 1 to 100?
It's our passion.
How much of a pain is it out of 100, in your opinion?
No, it's fine.
Fringes take a while to make, but it's fine.
It's not that complicated.
Do you know how special this jacket is?
It's the last ever Dior jacket and it's been here since 43 years.
Oh my gosh!
It's beautiful! That's so cool!
I didn't tell you, it's named after me!
On the sketch at the entrance, if you look at the sketch, her name is Nadege.
Really?
Yes, that's a lovely tribute!
Rose Salmon wears Nadège.
Yes, Jonathan Anderson named the last garment Nadège worked on before retiring, after her.
So when are you retiring?
