The house of Dior has a longstanding relationship with cinema\u2014Christian Dior was a filmic dreamer. He designed the French Second Empire costumes for the 1942 movie Le Lit \u00e0 Colonnes<\/em>, while working for couturier Lucien Lelong, before he founded his own label in 1946. It was those romantic, structured silhouettes that would bolster the New Look. In 1955, he was nominated for an Academy Award for his costuming of Terminal Station<\/em>, and in 1950, he designed for the pre\u2013New Wave Les Enfants Terribles<\/em> and Alfred Hitchcock\u2019s Stage Fright,<\/em> in which he dressed Marlene Dietrich. These served as Anderson\u2019s initial inspiration. \u201cNo Dior, no Dietrich!\u201d Golden Age icon Dietrich told Hitchcock and Warner Bros execs during negotiations for her part as the sultry, glamorous Charlotte Inwood.<\/p>\n \u201cChristian Dior understood how important the idea of \u2018the dream\u2019 was for people after the war,\u201d notes Anderson. From the ateliers to the lot, \u201cit was all part of the same cross-cultural shift.\u201d<\/p>\n The designer teased<\/a> a forthcoming cinematic project (projects?) in a preview of the resort collection. \u201cWhat you\u2019re seeing here,\u201d Anderson told<\/a> Sarah Mower, \u201cis part of a kind of broader picture of what we will do over the next 12 months in cinema. We\u2019re in Hollywood, and we\u2019re starting something, but it will be a larger picture thing that we will do with franchises, with film, with other things. So this is going to be like: How does a fashion house work with cinema? And how does the cinema work with a fashion house, and what is a new type of business model within that?\u201d<\/p>\n Anderson has made all the right moves toward Hollywood power playing so far while juggling his creative directorship at Dior and his own namesake brand. Costume design is already a side hustle, having worked on friend and director Luca Guadagnino<\/a>\u2019s Challengers<\/em> (2024), Queer<\/em> (2024), and the forthcoming film Artificial<\/em>. (Anderson hails from Northern Ireland, a region with its own lively film industry and the location for many a Hollywood film and HBO series.)<\/p>\n Challengers<\/em> was defined by Anderson\u2019s unique understanding of everyday clothes\u2014Zendaya\u2019s \u201cI TOLD YA<\/a>\u201d tee is a moment that sartorially articulates her character\u2019s growing ambition. Queer,<\/em> meanwhile, paid particular attention to historical detail<\/a>, with Anderson diligently making sure garments were timely and likely to have been found worn by drug-spangled gay expats in 1950s Mexico City.<\/p>\n
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