{"id":172239,"date":"2026-11-12T09:50:48","date_gmt":"2026-11-12T14:50:48","guid":{"rendered":"https:\/\/models.com\/oftheminute\/?p=172239"},"modified":"2026-11-12T09:50:48","modified_gmt":"2026-11-12T14:50:48","slug":"who-is-diors-a24-collaboration-for","status":"publish","type":"post","link":"https:\/\/models.com\/oftheminute\/who-is-diors-a24-collaboration-for\/","title":{"rendered":"Who is Dior\u2019s A24 Collaboration For?"},"content":{"rendered":"<ul>\n<li><a href=\"https:\/\/models.com\/people\/JW-Anderson\">Jonathan Anderson<\/a> has brought <a href=\"https:\/\/models.com\/client\/dior\/all\/\">Dior<\/a> into a two-year creative partnership with independent film powerhouse A24.<\/li>\n<li>Anderson rejects conventional product placement and aims to connect with younger generations by selling the idea of the brand.<\/li>\n<li>A24&#8217;s commercially successful but artistically minded reputation has earned it a cult-like following that aligns with the way luxury fashion houses market themselves.<\/li>\n<li>The partnership raises questions about who benefits from the arrangement and what constitutes best practice in fashion patronage.<\/li>\n<\/ul>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/LutBUtHdxKM?si=fCVb05fDen4KMH4i\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"https:\/\/models.com\/client\/dior\">Dior<\/a> doesn&#8217;t need A24&#8217;s cultural cachet to sell handbags. But it couldn&#8217;t hurt, could it?<\/p>\n<p>The French luxury house&#8217;s recent announcement of a multi-year collaboration with American independent film company A24 surprised many in fashion. Its founder, however, would have understood the impulse. Christian Dior&#8217;s interest in the relationship between fashion and visual arts began well before he established his fashion house.<\/p>\n<p>In 1928, at the age of twenty-three, Dior opened an art gallery on Paris\u2019 rue La Bo\u00e9tie with his parents\u2019 money\u2014on the condition that the family name stay off the door. Three years later, he established a second space with the art dealer Pierre Colle. Within a handful of seasons, the two put on an early Alexander Calder show, Alberto Giacometti\u2019s first solo exhibition in Paris, and the mythic 1931 Dal\u00ed exhibition at which The Persistence of Memory was shown for the first time, before being sold for $250. Each of these was a gamble on works without market precedent.<\/p>\n<p>By 1934, the Depression had forced the galleries\u2019 closure. Twelve years later, he opened his own house, having entered the fashion industry untrained and unknown\u2014this time with his name on the door.<\/p>\n<p>Almost a century later, on 10 September, <a href=\"https:\/\/models.com\/client\/dior\">Dior<\/a> became premier partner of the Cherry Lane Theatre in New York\u2019s West Village, under a two-year creative partnership with A24, the cult-turned-powerhouse production and distribution company. Connecting high fashion to popular cinema is not quite the same as championing the work of the Surrealist movement years before it became a defining expression of postwar thought. Still, it illustrates the house&#8217;s continued investment in artistry beyond fashion. But it begs the question: who is this latest collaboration for?<\/p>\n<p>The launch was intentionally exclusive: a one-night-only solo performance of <em>Both Ends<\/em>, written and performed by Justin Vivian Bond and directed by Zack Winokur. The production was inspired by Edna St. Vincent Millay, poet and playwright extraordinaire, who helped found the theatre in 1923. <a href=\"https:\/\/models.com\/people\/JW-Anderson\">Jonathan Anderson<\/a> designed the costumes; Bond wore archival Paul Poiret, the couturier whom the two companies say once dressed Millay, and whose work fed Anderson\u2019s Winter 2026 collection. An arch announcement film put <a href=\"https:\/\/models.com\/people\/sabrina-carpenter\">Sabrina Carpenter<\/a>, <a href=\"https:\/\/models.com\/people\/josh-oconnor\">Josh O\u2019Connor<\/a>, <a href=\"https:\/\/models.com\/people\/drew-starkey\">Drew Starkey<\/a>, <a href=\"https:\/\/models.com\/people\/camille-cottin\">Camille Cottin<\/a>, and <a href=\"https:\/\/models.com\/people\/sophie-wilde\">Sophie Wilde<\/a> each in the role of Anderson, with the designer appearing as himself. Beyond the theatrics, the announcement included a programming slate and a student scheme, both still unspecified. The financial terms are as private as any account of what the money will pay for.<\/p>\n<p>The clothes are just as mysterious. So far, the sole garment is a graphic T-shirt worn exclusively by <a href=\"https:\/\/models.com\/client\/dior\">Dior<\/a>&#8216;s campaign stars and assorted celebrities who have previously featured in A24 productions. Social media images of <em>The Witch<\/em>&#8216;s <a href=\"https:\/\/models.com\/people\/anya-taylor-joy\">Anya Taylor-Joy<\/a>, <em>Backrooms<\/em>&#8216; <a href=\"https:\/\/models.com\/people\/chiwetel-ejiofor\">Chiwetel Ejiofor<\/a>, and Primetime&#8217;s <a href=\"https:\/\/models.com\/people\/robert-pattinson\">Robert Pattinson<\/a> wearing versions of the piece serve as viral marketing for garments that have yet to materialise, or foreshadow onscreen costumes yet to come.<\/p>\n<blockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-permalink=\"https:\/\/www.instagram.com\/p\/DdcNjKcGHqV\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n<div style=\"padding:16px;\"> <a href=\"https:\/\/www.instagram.com\/p\/DdcNjKcGHqV\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" background:#FFFFFF; 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font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram<\/div>\n<\/div>\n<div style=\"padding: 12.5% 0;\"><\/div>\n<div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\n<div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div>\n<div style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div>\n<div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div>\n<\/div>\n<div style=\"margin-left: 8px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\"><\/div>\n<\/div>\n<div style=\"margin-left: auto;\">\n<div style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div>\n<div style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div>\n<div style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div>\n<\/div>\n<\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\">\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div>\n<div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div>\n<\/div>\n<p><\/a><\/p>\n<p style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\"><a href=\"https:\/\/www.instagram.com\/p\/DdcNjKcGHqV\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by A24 (@a24)<\/a><\/p>\n<\/div>\n<\/blockquote>\n<p><script async src=\"\/\/www.instagram.com\/embed.js\"><\/script><\/p>\n<p>Anticipation is high, and only Anderson knows for certain how the collaboration will take shape over time. Though he has an affinity for collaborative collections with cinematic origins\u2014think of the many Studio Ghibli-inspired ranges he developed during his tenure at <a href=\"https:\/\/models.com\/client\/loewe\">Loewe<\/a>, or the costumes he designed for Luca Guadagnino\u2019s <em>Challengers<\/em> (for which he was nominated for a Costume Designers Guild award), <em>Queer<\/em>, and the forthcoming <em>Artificial<\/em>\u2014Anderson seems uninterested in straightforward product placement, a concept he dubbed \u201cprovincial\u201d in an interview with the <em>Financial Times<\/em> earlier this year.<\/p>\n<p>\u201cThis is about believability. For me it is more about recruiting a younger generation. And this does not mean that we need a handbag on a cinema screen to sell the handbag. It is about selling the idea that a brand is real.\u201d Fashion, he adds, \u201cis not part of the public imagination of the moment.\u201d<\/p>\n<p>Earning a place in the hearts and minds of consumers has been one of Anderson\u2019s goals since arriving at <a href=\"https:\/\/models.com\/client\/dior\">Dior<\/a>. He has opened each couture show to the public afterwards in a series of free exhibitions, titled Grammar of Forms, at the Mus\u00e9e Rodin. His creations are displayed alongside an artist\u2019s work and historic Dior garments: Magdalene Odundo\u2019s ceramics in January, Lynda Benglis in July. He founded the <a href=\"https:\/\/models.com\/client\/loewe\">Loewe<\/a> Craft Prize in 2016 and sits on the board of the V&#038;A.<\/p>\n<p>Aligning with A24 places <a href=\"https:\/\/models.com\/client\/dior\">Dior<\/a> firmly in the current conversation around film. The production company has spent fourteen years turning out the grit against the gloss, which is a commercial achievement: cult cinema you can recommend to your father. Its logo now functions as a sort of blue tick\u2014a mark people trust independently of what it is attached to. A24 films are no longer a gamble; their popularity in the last decade has changed the box office landscape. Hyped before release, they are all but assured of an audience, which is the inverse of what Dior and Colle were doing with the gallery. <\/p>\n<p>What the house has bought is a position within an agreement that has already been culturally ratified. A24\u2019s audience is young, culturally savvy and, most importantly, actively engaged with fashion. Last year, during the promotion of Josh Safdie\u2019s <em>Marty Supreme<\/em>, the marketing team adopted a strategy centred on merchandise. The Marty Supreme jacket, produced by <a href=\"https:\/\/models.com\/client\/nahmias\">Nahmias<\/a>, emerged as one of the most publicised and hardest-to-attain pieces of 2025. Sold nowhere, the status symbol appeared on the backs of the film\u2019s star, <a href=\"https:\/\/models.com\/people\/timothee-chalamet\">Timoth\u00e9e Chalamet<\/a>, his frequently photographed girlfriend <a href=\"https:\/\/models.com\/people\/kylie-jenner\">Kylie Jenner<\/a>, and a multigenerational cast of athletes and celebrities, from <a href=\"https:\/\/models.com\/people\/frank-ocean\">Frank Ocean<\/a> to Ringo Starr. The viral tactics echo in Dior\u2019s current promotion of its A24 collaboration.<\/p>\n<blockquote><p>What the house has bought is a position within an agreement that has already been culturally ratified.<\/p><\/blockquote>\n<p>The agreement also, conveniently, happily, happens to be solvent: A24 was valued at around $3.5bn in its 2024 funding round, following an investment by Josh Kushner\u2019s Thrive Capital; Backrooms took $400m worldwide this May against a budget reportedly in the region of $10m. The company owns the Cherry Lane Theatre, having bought it in 2023 for $10,026,428 with the real estate firm Taurus Investment Holdings, beating a non-profit foundation to it. In June, it accepted $75m from Google to build AI tools in an arrangement neatly disguised as a \u2018research partnership\u2019. Asked what she made of the assumption that the Dior deal runs to tens of millions, Rose Garnett, who runs A24 in the UK, said: \u201cI don\u2019t think it matters. I think what matters is the work that we do.\u201d<\/p>\n<p>It does, however, matter a hundred blocks uptown, where The Movement Theatre Company spent $341,051 across the whole of last year. The US National Endowment for the Arts budgeted $3.73m in 2025 for the 148 theatres it supports across the country. Still, the common gripe that Dior should have funded somebody poorer treats money as the whole transaction, when the question worth asking is: who does the arrangement really serve? Lewis Hyde\u2019s distinction echoes: a gift establishes a bond between the people involved, whereas the sale of a commodity leaves no necessary connection between them. What Dior has made is an exchange, smoothed into the parity of partnership.<\/p>\n<p>But what it receives, curiously, given everything Anderson has just said, is an audience it\u2019s unlikely to sell to. The 25-year-olds queuing outside the Angelika will probably never buy a Lady Dior bag. Their function is not to expand the market by buying anything: their enthusiasm and aspiration are what could make the house feel culturally alive to the buyer who is older and richer, and who needs to feel they are purchasing a living thing, not an inherited one. Recruiting a younger generation, in this arrangement, means recruiting their clout.<\/p>\n<p>It\u2019s hard to write about film and fashion and not have <a href=\"https:\/\/models.com\/client\/miu-miu\">Miu Miu<\/a>\u2019s Women\u2019s Tales\u2014its in-house-funded film programme\u2014playing in the background. If \u2018in-house\u2019 ordinarily means control, then the house gives most of it away: 32 films have been commissioned since 2011, from women directors who are, in the house\u2019s own words, \u201carmed with total freedom to create whatever they want.\u201d The brand\u2019s clothes do appear in all of them, but it\u2019s a condition the house states plainly, describing its collections as \u201ca cast of characters in their own right\u201d: a seamed through-line, not a tether. Fifteen years is long enough to show that a director can take the money, a cast of clothing, and still make her own film. <a href=\"https:\/\/models.com\/people\/olivia-colman\">Olivia Colman<\/a> walked the SS27 show at 52 in her own grey hair\u2014with no partnership to announce, no terms attached.<\/p>\n<blockquote><p>The 25-year-olds queuing outside the Angelika will probably never buy a Lady Dior bag. Their function is not to expand the market by buying anything: their enthusiasm and aspiration are what could make the house feel culturally alive to the buyer who is older and richer, and who needs to feel they are purchasing a living thing, not an inherited one.<\/p><\/blockquote>\n<p>Then again, two years is also time enough to prove all this wrong. The slate exists on paper and the student scheme has yet to be described. A second and third commission could settle the matter better than any one-night-only launch could. Whether Cherry Lane gets a platform it can build on, or Dior gets a season of cult-cool-cachet, is a question the partnership will close the curtain on by 2028, pending renewal.<\/p>\n<p>In the meantime, there is the merchandise, which is where the aspirational buyer actually transacts. <a href=\"https:\/\/models.com\/client\/miu-miu\">Miu Miu<\/a> has printed its thirty-two films onto a T-shirt edition, with stills on the front and credits on the reverse. The Dior x A24 shirts worn by Carpenter, Pattinson, and Anderson in the campaign are not for sale, which has failed to stop the counterfeiters: there are listings on Etsy and a dozen print-on-demand storefronts. All of them selling the only part of this partnership anybody has tried to buy.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jonathan Anderson and co. just teamed up with the studio behind Backrooms, Midsommar, and Ex Machina, but can the brand translate cinematic cool into meaningful style?<\/p>\n","protected":false},"author":454,"featured_media":172266,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15474,15361],"tags":[],"_links":{"self":[{"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/posts\/172239"}],"collection":[{"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/users\/454"}],"replies":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/comments?post=172239"}],"version-history":[{"count":22,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/posts\/172239\/revisions"}],"predecessor-version":[{"id":172242,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/posts\/172239\/revisions\/172242"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/media\/172266"}],"wp:attachment":[{"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/media?parent=172239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/categories?post=172239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/wp-json\/wp\/v2\/tags?post=172239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}