Jonathan Anderson&rsquo;s first campaign for Dior isn&rsquo;t really about clothes. It&rsquo;s about identity.

With this first global campaign, Anderson does more than present a collection. Shot by David Sims, the <a href="https://www.lofficielsingapore.com/fashion/jonathan-anderson-dior-spring-summer-2026-collection-paris-fashion-week-celebrities-jimin-jisoo" title="Jonathan Anderson&rsquo;s Dior Spring/Summer 2026 Show Balances Heritage with Modernism" target="_blank" rel="noopener">Spring/Summer 2026</a> campaign introduces Anderson&rsquo;s vision of the house through an idea of style as behaviour rather than spectacle. He sets out a way of thinking. The images don&rsquo;t simply show clothes and accessories; they give visual form to the &ldquo;recoding&rdquo; of <a href="https://www.lofficielsingapore.com/fashion/new-year-new-looks-for-lady-dior-bag" title="New Year, New Versions of Lady Dior Bag" target="_blank" rel="noopener">Dior</a> announced with his appointment. It&rsquo;s a quiet debut, but a deliberate one. Rather than treating <a href="https://www.lofficielsingapore.com/fashion/thai-stars-lingling-kwong-orm-kornnaphat-officially-dior-ambassadors-fashion-celebrity-news" title="Thai Stars, Lingling Kwong and Orm Kornnaphat are Officially Dior Ambassadors" target="_blank" rel="noopener">Dior</a> as a fixed monument, Anderson positions it as a living language, something that can shift, adapt, and be spoken differently by each wearer.
The photographs, alternating between black and white and colour, feel closer to studies than statements. They avoid obvious drama or narrative, relying instead on small, telling details. Sims keeps things stripped back, letting posture, spacing, and atmosphere do the work. Interiors are reduced to essentials: wood panelling, parquet floors, minimal furniture, subdued fabrics. The mood suggests a kind of inherited ease, an aristocracy of culture rather than wealth, implied rather than announced.

The cast reflects this sensibility. Actresses such as <a href="https://www.lofficielsingapore.com/fashion/greta-lee-past-lives-actress-calvin-klein-fall-2024-campaign-photos-fashion-celebrity" title="Korean-American Actress, Greta Lee Makes Her Debut Calvin Klein Campaign" target="_blank" rel="noopener">Greta Lee</a> appear alongside actors Louis Garrel and Paul Kircher, footballer Kylian Mbapp&eacute;, and models Laura Kaiser, Sunday Rose, and Saar Mansvelt Beck. No one seems to be performing for the camera. Instead, they appear to occupy the space naturally, as if caught between moments. There&rsquo;s a sense of pause, of rehearsal, that recalls theatre and cinema, but also speaks to Anderson&rsquo;s ongoing interest in identity as something fluid and constantly evolving.
Clothing sits at the centre of this idea. The silhouettes are precise but never stiff, and the fabrics feel tactile and approachable. Dior&rsquo;s history is present, but it isn&rsquo;t treated reverently. The Bar jacket appears alongside Delft shorts; sharp tailoring is softened by piping shirts, relaxed denim, and knitted capes. The past isn&rsquo;t erased, but used as raw material, something to build with rather than be confined by.

This balance between elegance and everyday life is where Anderson&rsquo;s approach becomes most visible. He has always been interested in how clothes are lived in, not just how they look. Here, Dior feels less idealised and more possible. Elegance isn&rsquo;t performative or precious. It&rsquo;s practical, intuitive, and shaped by movement. What matters is not the garment itself, but the way it&rsquo;s worn.
Accessories reinforce this sense of character. Bags like the tasseled Lady Dior, the Cigale with its miniature bow, and newer styles such as the Crunchy, the Bow, and the Diorly feel less like status symbols and more like companions. They add personality rather than dominating the image. In line with a more relational idea of luxury, they enrich the story instead of shouting for attention.

What ultimately comes through is the idea of a &ldquo;squad&rdquo;. Not a uniformed group, but a loose gathering of individuals connected by attitude rather than appearance. There&rsquo;s freedom here, a willingness to experiment and to change. It&rsquo;s a subtle but strategic move at a time when fashion houses are trying to speak to audiences who are informed, selective, and resistant to rigid branding.
Jonathan Anderson&rsquo;s first Dior campaign doesn&rsquo;t try to define his era at the house outright. Instead, it asks better questions. What does it mean to inherit a legacy brand today? How do you respect an archive without being trapped by it? And how do you create a style that people can actually live in? For now, the answer seems to lie in this idea of style as behaviour, as instinct, as something shaped daily. In other words, as character.

All the photos from the Dior Spring Summer 2026 campaign

Jonathan Anderson’s First Dior Campaign Signals a Shift Towards Style as Identity

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