Dior active in St Germain with Couture Exhibition and Pop-Up

30 Jan 2026

Dior’s busy couture week just got busier in St Germain, as the house opened a fresh pop-up at Le Bon Marché, and crowds thronged to its unique exhibition 'Gramaires des Formes' at the Rodin Museum.

Friday morning feted a novel pop-up in Paris’ leading department store- and sister brand within LVMH- Le Bon Marché. Decorated with distinctive new styling created around the classic Dior hat boxes and Colifichets from the very first Dior boutique.

This 150-square-metre boutique featured the very first creations by the house’s artistic director Jonathan Anderson, selected from his debut men's and women's ready-to-wear collections. It will stay open until February 22.

One Duane Hanson-style life-size figurative statue holds a towering array of different sized boxes; all made in the emblematic grey of 30 Montaigne.

While whole walls of boxes display new products like reinvented Lady Dior bags, the Dior Book Tote embroidered with the covers of literary classics, alongside Dior literary sweatshirts and T-shirts. Plus, there is a selection of Dior Roadie shoes, Dior Archie loafers, and an array of ready-to-wear models.

One kilometre away, the house staged a six-day exhibition of haute couture, “to mystify couture” to the general public. Presented in the same Hall of Mirrors show-space where Anderson staged his first Dior couture show on Monday in the gardens of the Rodin Museum.

It turned out to be a triangular dialogue between Anderson, Monsieur Dior, and the great Nigerian ceramic artist Magdalene Odundo. Her dark, curvilinear vessels were the inspiration for the first three looks in Anderson’s show, in red, black or white, which open this exhibition.


Throughout the week, scores of visitors- perched on the actual wooden box seats built for the runway show- sat fascinated by a giant video display of Anderson’s debut.

Guests can admire classic works by Monsieur, such as the ecru bar jacket in shantung from his legendary debut New Look collection of 1947, or a perfectly shaped Cigale dinner dress in moiré ottoman from 1952. Close by, Anderson’s elegantly shaped black velvet bustier dress, posed on a hidden interior structure of horsehair and whalebone, looks like a natural successor to the founder’s oeuvre.

While a funnel neck 1950 oblique line black wool coat by Monsieur- a work of superb sculpture in its own right- named New York, finds a happy accompaniment with a long black double-face cashmere Bar coat with soaring asymmetrical collar by Anderson.

The Northern Irishman named that look 'Rêve,' meaning dream, which could sum up this unique and rare display and shine a light into the unique laboratory of fashion that is Paris haute couture.