fashion – greg.org

Jonathan Anderson Dream T-Shirt

gisele bundchen looking over her glasses and emily blunt with her mouth open, both with expressions of stunned disbelief in a screenshot from the devil wears prada

“Are you wearing the—”

a thin fair skinned model with straight dark hair back wears an off white tshirt style dress in sheer organza i think with intermittent strings of beads, that comes to her mid calf. there is a faintly painted or printed outline in airbrushed rainbow colors of a figure, and the faint letters artf across the chest. the model stands on a black parquet floor with palm fronts behind her, and holds a platinum colored pleated metallic bag. this is from the lynda benglis inspired dior haute couture show, and the figure alluded to on the dress is benglis, posing with a giant double dildo for a work she published in artforum in 1974 as an advertisement. but none of that is really legible in this five-figure made to order garment — Mirage is the name of the dress, Dior Haute Couture F/W 26-27 via Yahoo

“The airbrushed T-shirt version of the 1974 artwork Lynda Benglis ran as a two-page advertisement in Artforum that sparked an editorial protest and eventually led to the founding of October Magazine, printed as an almost unrecognizably ethereal palimpsest on a sheer, beaded, short-sleeved dress in Jonathan Anderson’s Benglis-inspired Dior Haute Couture Fall/Winter 2026-27 collection? Yeah, yeah I am.”

“And are you wearing the—”

boy faced short ginger haired and serious looking jonathan anderson in a light blue shirt with the sleeves rolled up and brown trousers amidst a seated crowd of fashionistas amidst palm fronts sandwiched between black reflective floor and roof planes at the end of the fall winter 2026-2027 haute couture show. a lynda benglis artforum advertisement t-shirt is peeking out from under his very unbuttoned blue shirt, which is the point of this picture and blog post — screenshot detail from the Dior Haute Couture F/W 26-27 show via

“The actual 1974 T-shirt, first issued as an edition of 25, but one of perhaps as many as 50 total, some of them framed, and each with different screenprint and airbrush variations, so it’s peeking out from under my strategically unbuttoned shirt? Yeah, yeah I am.”

Lynda Benglis Artforum Advertisement 50th Anniversary Fact Sheet [pacegallery]
Dior Haute Couture F/W 26-27 via Fashion Feed [youtube]
cf. “The designer couldn’t resist sneaking a particularly ‘if you know, you know’ reference into the collection” — Julia Halperin writing on the Benglis collab in the NYT [nytimes]

From The Jonathan Anderson Dream Library

Ulysses: Dior Medium Book Tote with Strap, $US3,600

There are 12 books in the Jonathan Anderson Dream Library. The titles are presented here as a selection of the 94 Dior products Anderson made by adapting the cover designs of their first editions. Except for the Ulysses by James Joyce Dior Medium Book Tote with Strap in embroidered cotton and calfskin, which greg.org hero Michael Seiwert brought to my attention today via a repost of @ahablives.bsky.social, they are in alphabetical order by author:

The Rick Owenscene Future Is Here

At first I thought the sunblasted video of Rick Owens’ 2027 collection, presented last week on the shadeless place of the Palais de Tokyo in the midst of the 40-degree Saharan omega heatdeath of Europe, felt like a prequel to Mad Max, with stranded club kids trudging through the desert, clinging to the increasingly tenuous expectation that there’ll be a gas station, and it’ll have gas.

As I was typing this out, I thought of a rebooted Gerry, Gus Van Sant’s near-wordless exploration of survival and the violent sublime, with the roles of Casey Affleck and Matt Damon replaced by 100 models.

But then I come back to Sand and Sea (Marina), the climate catastrophe opera installation at the Lithuanian Pavilion at the 2019 Venice Biennale, where performers loll about on a doomed beach, only it’s restaged by the S&M goths scurrying under the glass floor of Anne Imhoff’s Faust in the German Pavilion the Biennale before.

Having experienced complicated awe at Owens’ similar show on the identical site in 2024, I have to say I had some concerns, stifled them, and now find it bleaker than I feared.

Previously, awkwardly related: Rick Ruled (S/S25)

Behind The Seine

SSENSE screenshot of Eva Losada’s photos of Rick Owens’ S/S25 show at the Palais de Tokyo

Ssense has an excellent interview by Steff Yotka with Alex Munro, veteran casting director for Rick Owens’ shows, about the making of the epic S/S25 show that turns out to have been the closing ceremony of pre-Olympics Era Paris:

At the apex of the Palais de Tokyo’s staircase, beside the bas-reliefs of the nine muses, there’s Munro choreographing the show, doling out groups of models like the conductor of a heavenly human orchestra. Here they come: Tyrone Dylan Susman in a sheer jumpsuit and bold-shouldered coat. Allanah Starr in a draped and caped prong dress. Charles Star Matadin in a gilded hood and Kat Q in sheer layers with shoulders that arc upward toward the sky. And here parades an assemblage of bodies on a litter supported by ten strongmen.

220 People. 25 Minutes. 4 Gymnasts. 1 Doctor. [ssense]

Rick Ruled

The streets were scouted. The fashion schools were emptied. The gazar was unfurled. The skaters were evicted. And Rick Owens’ Spring/Summer ’25 men’s collection processed momentously around the courtyard of the 1937 Palais de Tokyo— twice—to a very extended remix of the second movement of Beethoven’s 7th.

In the description on his YouTube channel, Owens cites as inspiration his own youthful flight to Hollywood Boulevard, Jack Smith & Kenneth Anger, and “THE LOST HOLLYWOOD OF PRE-CODE BLACK AND WHITE BIBLICAL EPICS, MIXING ART DECO, LURID SIN AND REDEEMING MORALITY.”

Which sounds and looks like Cecil B. DeMille’s original 1923 version of The Ten Commandments, with better costumes.

screenshot from *The Ten Commandments* (1923), dir. Cecil B. DeMille, via internet archive

And, ngl, it also sounds and looks a lot like Intolerance (1916), D.W. Griffith’s unwieldy and obsequious sequel to his breakout klanfic hit, The Birth of A Nation (1915), with much better costumes.

screenshot of *Intolerance* (1916), dir. D.W. Griffith, showing the lost Babylonian set [which has been recreated in tiny part as a mall at Hollywood & Highland], via youtube

The creation of Griffith’s spectacle, from the cast of thousands to the mammoth set built on Hollywood & Sunset, was a centerpiece of Anger’s book, Hollywood Babylon.

“EXPRESSING OUR INDIVIDUALITY IS GREAT BUT SOMETIMES EXPRESSING OUR UNITY AND RELIANCE ON EACH OTHER IS A GOOD THING TO REMEMBER TOO… ESPECIALLY IN THE FACE OF THE PEAK INTOLERANCE WE ARE EXPERIENCING IN THE WORLD RIGHT NOW…” also wrote Owens.

I am not really sure how the master’s spectacularly propagandistic tools are going to dismantle his ideological house. But maybe it’s the show’s second lap, where each model walks again solo. I do want one of those jackets, though.