Dior

Jonathan Anderson opened his Dior on 2 January 2026 with a Book Tote embroidered as a 1955 first edition of Bram Stoker’s Dracula — and that Book Tote, retailing at $3,550, is the most expensive single position in a market that the world’s twenty largest fashion houses are now actively publishing books to claim. The trigger for the dossier is Business of Fashion’s 1 June 2026 piece “How Books Became Fashion’s Favourite Flex”, which read Coach’s March 2026 ‘Explore Your Story’ campaign with Elle Fanning and the Dior Book Cover Collection as the same gesture. They are. They are also the smallest, most visible tip of a register that has been building since at least 1973, when Hermès printed the first German-language Die Welt von Hermès. This piece is an atlas of seventeen-plus programmes by the fashion houses publishing books in 2026, organised by what each programme is for. ...

Of the eight luxury houses with a dedicated publishing imprint in 2026, only one — Louis Vuitton — has run one continuously for more than two decades, starting with a seven-volume City Guides boxed set in a handmade leather sleeve in 1998. Every other operation on the map below — Hermès Éditeur, Chanel via Steidl, Dior via Assouline and Rizzoli, Prada, Bottega Veneta, Saint Laurent Rive Droite, Miu Miu, Burberry and now Coach — is younger, in most cases by fifteen years or more. The story of luxury publishing imprints in 2026 is how an industry that spent the 2010s collapsing into Instagram squares spent the 2020s rebuilding itself around printed objects: monographs, magazines, literary salons, micro-books on bag charms. ...

Dior’s 2026 store programme runs three architects in parallel — Sou Fujimoto’s ribbed Shinsaibashi facade in Osaka, Peter Marino’s drapery-lined interiors in New York and Beverly Hills, Alex Chinneck’s 14 knotted-clock window sculptures across both — and the throughline of the year is that Marino, the maison’s architect-of-record since 1997, is now choreographing other people’s gestures inside his own retail architecture. The Dior 2026 stores are not a single building or a single signature; they are a programme that puts a Japanese name-architect on a flagship envelope in Osaka and a British sculptor on the windows of two American boutiques within a week of each other in late May, while keeping every interior under one continuous Marino hand. Read together, the three fronts are the clearest articulation in years of how LVMH’s largest fashion house thinks about retail as architectural patronage rather than as identikit rollout. ...

Sou Fujimoto’s House of Dior Shinsaibashi opened in Osaka on 21 May 2026 as the third star-architect Dior maison in East Asia in 23 years, after SANAA’s Tokyo and Christian de Portzamparc’s Seoul. The new four-storey flagship in the Shinsaibashi-suji shopping district wraps a ribbed, undulating facade — Fujimoto’s reading of haute couture drapery — around interiors by Peter Marino and an upper-floor restaurant by Anne-Sophie Pic. Dior Shinsaibashi is the most architecturally legible chapter yet in LVMH’s 23-year campaign to commission named architects for its Asian flagships rather than fit out anonymous retail shells. ...

Jonathan Anderson is the first designer since Christian Dior himself, in 1946, to oversee Dior womenswear, menswear and haute couture from one office. The jonathan anderson lvmh trajectory — from the September 2013 deal that made him Loewe creative director and gave LVMH a minority stake in his independent JW Anderson label, to the April–June 2025 Dior appointments that consolidated three creative directorships under his name — is the most aggressive single-designer bet the group has placed in a generation. It runs across two brands (Loewe and Dior), one foundation prize, one curated museum show, and roughly twelve years. ...

Jonathan Anderson’s Dior Cruise 2027, staged inside Peter Zumthor’s still-warm David Geffen Galleries at LACMA on 13 May 2026, is the first Dior cruise show in Los Angeles since Maria Grazia Chiuri’s 2018 collection in the Upper Las Virgenes Canyon and the first ever directed by a creative director who simultaneously runs Dior menswear, womenswear and haute couture. The Jonathan Anderson Dior Cruise debut closed a thirteen-year arc that began at Loewe in September 2013 and routed, in just over twelve months, through three Dior appointments, the dissolution of the Chiuri-Kim Jones two-house structure, and the handover of the Loewe Foundation Craft Prize to a new pair of artistic directors at Madrid. ...

The cruise 2026 creative director turnarounds are the season the post-Sarno, post-Kim-Jones, post-Tisci creative resets stop being announcements and start being read commercially. Demna at Gucci, Jonathan Anderson at Dior, Daniel Lee and Joshua Schulman at Burberry, and Matthieu Blazy at Chanel have between them produced the most concentrated wave of artistic-director changes the four flagship houses of European luxury have ever shared in a single calendar year — and the Q1 2026 earnings prints arrived on the same desks as the cruise images. Business of Fashion’s 10 May briefing — “Gucci, Dior, Burberry: A Tale of Three Turnarounds” — named the three explicitly. The fourth, Chanel, is private and unrated; the fifth and sixth, Balenciaga and Versace, sit inside Kering and the Prada Group; and the cohort underneath them — Sarah Burton at Givenchy, Louise Trotter at Bottega Veneta, Duran Lantink at Jean Paul Gaultier and Glenn Martens at Maison Margiela — extends the same logic down the holding-company chart. ...