Sabrina Carpenter, Miley Cyrus, Anya Taylor-Joy, Lauren Hutton, Al Pacino and more came out for Dior’s cinematic resort runway show at LACMA. The collection was full of old Hollywood references made new for bombshells and rebels. Plus, what to watch Cannes fashion edition, and Frank Gehry’s first posthumous exhibition at Gagosian.

Dior’s New Golden Age 

“No Dior, no Dietrich!” Marlene Dietrich famously told Alfred Hitchcock and her Warner Bros. bosses while negotiating for the couturier to design her costumes for the 1950 film “Stage Fright.”

She was one in a long line of Hollywood legends the fashion house has glamorized throughout its storied history with cinema, a legacy brought to life in creative director Jonathan Anderson’s resort collection runway show at the Los Angeles County Museum of Art’s new Geffen Galleries on Wednesday night.

The W.M. Keck Plaza was transformed into a studio-worthy set with vintage cars, streetlights, rolling fog and a constellation of stars in the seats. Fresh off wearing custom Dior while headlining Coachella and a Dior dress made from “Sabrina” film strips to last week’s Met Gala, Sabrina Carpenter arrived wearing Look One from the runway show.

From Hollywood bombshells to rebels, Miley Cyrus kept it cool in Dior denim, a recurring theme in the collection and among guests, from fashion editors in jeans to LaKeith Stanfield in distressed denim cargo shorts and jacket.

Mikey Madison, Anya Taylor-Joy, Ejae, Miles Teller, Jeff Goldblum, Jisoo, Tracee Ellis Ross, Lauren Hutton and Greta Lee (with her cute parents in tow) were also dressed in Dior, helping sell the brand’s image to the world in the same way Hollywood stars have since the Golden Age.

Macaulay Culkin and Paul W. Downs were among those representing Anderson’s new New Look jacket, which has proven to be a style statement for men as well as women. 

Al Pacino arrived with his earbuds still in, acting his usual curmudgeonly self. He was one of several memorable sightings in the industry insider-heavy crowd, which included Brian Grazer, Sue Kroll, Sean Baker, Danny Elfman and Ruth E. Carter, alongside multigenerational duos such as Leslie Mann and Maude Apatow; Kimora Lee Simmons and Aoki Lee Simmons; and stylist Elizabeth Saltzman and her son, Charlie Walker, who modeled in the show.

Anderson has his own love affair with Hollywood, having designed costumes for Luca Guadagnino’s films “Challengers” and “Queer.” He built anticipation for the resort collection by sending vintage-style Dior keychains with invitations and releasing a teaser video starring Irish actress Alison Oliver behind the wheel of a car in a scene reminiscent of Alfred Hitchcock’s “Vertigo.”

Oliver’s breakout performance as Isabella Linton in Emerald Fennell’s “Wuthering Heights” earlier this year has her star on the rise, and, like generations before her, Dior is right there alongside her.

Dior Resort 2027: Hollywood Glam Slam

Presented at magic hour, with the sun setting behind the palm trees and moody shadows cast across the walls of the museum plaza, Jonathan Anderson’s first resort collection for Dior was a love letter to Hollywood that managed to avoid the usual clichés even as it paid homage to cinematic history.

Anderson used Christian Dior’s costumes for Marlene Dietrich in the 1950 film “Stage Fright” as a starting point. Her nipped-waist suiting, flower-bedecked garden-party dresses, feathers and furs were present in spirit, but translated into something more modern.

Similarly, many of the more exaggerated shapes Anderson has explored in recent collections, including his first haute couture, were distilled with wearability in mind while still retaining a stylish tactility.

The collection opened with a trio of gorgeous chiffon drop-waist dresses decorated with rosettes, introducing florals as a theme that threaded through everything from a gown blanketed in California poppies to whimsical scarves that resembled veritable bouquets.

Bias cut dresses and long satin sarong skirts were sumptuously draped, sprouting petals, vines, fringe and embroidery, while faux fur robe coats and feathered slipper shoes conjured a starlet’s boudoir.

Dior’s signature sharp suiting was given a new California ease, so that soft tweed blazers featured fraying edges, Bar jackets were more louche and a houndstooth chiffon duster was offered as a covetable new topper.

Building on his Fall 2026 collection shown in March, Anderson offered plenty of denim, ranging from fuzzy textured styles to ripped and crystal-embroidered versions. Fun extras included single dangling crystal mesh earrings and whimsical bird- and bug-shaped minaudières.

Women have been buying and borrowing from Anderson’s Dior men’s collections, and vice versa, making it feel natural to have them co-mingling on the runway. Knit capes evoked Sombr’s glam rock style, flannel coats featured shadows echoing film noir-style Venetian blinds and casual shirting with typography created in collaboration with L.A. artist Edward Ruscha added to the collection’s sense of place.

After Anderson took his bow, guests filed upstairs to enjoy the Geffen Galleries, taking in views over traffic-buzzing Wilshire Boulevard and a brand-new Dior billboard featuring Alison Oliver. It was a scene Ruscha could have created himself.

Cannes for Fashion Watchers

There may not be any major Hollywood blockbusters premiering at Cannes this year, but the kickoff of international awards season still has plenty of stars and major red-carpet moments in store.

Some of what will be worn is dictated by brand ambassador relationships, and in that area, Chanel is poised to score big during the festival. But there are still plenty of opportunities for style surprises, which began Tuesday at the opening-day jury photocall, with Demi Moore in a delightfully dotty custom Jacquemus sculptural bustier dress embroidered with feather confetti, individually dyed, bent and curved by hand. Let the fashion wonder begin.

Here’s what fashion watchers should look out for.

The Jury

As much as I would love to see jury members embrace fashions by designers from their respective countries when selecting the Palme d’Or — with Demi Moore in U.S. designer Thom Browne, Chloé Zhao in Chinese designer Huishan Zhang, and Ruth Negga in Irish designer Róisín Pierce in a dream scenario — that was not the case, at least in the early hours of the festival.

Moore did come out strong, following her daytime Jacquemus photocall look with a custom Jacquemus sequin peplum gown for the opening ceremony, and then a buoyant Gucci draped lilac chiffon gown for the premiere of “La Vie D’une Femme.” (Gucci was a given for at least one, if not more, Cannes carpets, since Moore has a high-profile partnership with the brand, having appeared in Demna’s 2025 Gucci short film and attended the Fall 2026 show in Milan.)

Zhao shook things up at the jury photocall in a sexy Hermès Spring 2026 navy blue slit-front top and skirt before continuing her Gabriela Hearst 2025–26 awards-season streak, wearing a charming black pointelle lace gown from the American designer’s Fall 2026 collection for the opening ceremony.

Meanwhile, Negga looked casually cool in an elegant all-white Fall 2026 look by Michael Rider for Celine during the photocall, then nodded to her Irish roots at the opening ceremony in a custom green fringed Dior gown by Northern Irish designer Jonathan Anderson. Extra points for the killer sunglasses seen so far on the Croisette.

The International Darlings

Both leads in buzzy competition films, Sandra Hüller (“Fatherland”) and Renate Reinsve (“Fjord”), are fashion insider favorites because of their intellectual approach to style. Hüller was the face of a Phoebe Philo campaign in 2024, opened the Spring 2026 Miu Miu show last year in a workwear apron and wore a black Schiaparelli hourglass gown with an exaggerated off-the-shoulder neckline to the Oscars. More recently, she wore Prada to the “Project Hail Mary” premiere in New York, suggesting a possible Cannes red carpet moment for her as well.

Reinsve is a Louis Vuitton ambassador and was among the Oscars’ best-dressed in a striking, minimalist, asymmetrically draped red gown, showcasing her modern approach to fashion.

Let the games begin. 

The Brand Ambassadors

Already riding high on critical acclaim for creative director Matthieu Blazy’s first three collections, Chanel is poised to make an outsize impact at Cannes, with three of its ambassadors — Riley Keough (“Butterfly Jam”), Marion Cotillard (“Karma”) and Kristen Stewart (“Full Phil”) — expected to wear the brand for red carpet appearances.

Louis Vuitton is also set for major moments, with ambassadors Reinsve, Alicia Vikander (“Hope”) and Léa Seydoux (“Gentle Monster”) expected to feature prominently on the red carpet.

Prada ambassador Scarlett Johansson (“Paper Tiger”) and Saint Laurent ambassador Rami Malek (“The Man I Love”) are also ones to watch.

The Newbie

“I Love LA” star Jordan Firstman’s directorial debut “Club Kid” follows a washed-up party promoter who is forced to turn his life around when an unexpected visitor arrives. It is one of the festival’s most hotly anticipated films. Like his character on the Rachel Sennott-led show, Firstman has a quirky personal style rooted in indie fashion labels, including Ludovic de Saint Sernin and Advisry, which he wore to the recent Fashion Trust U.S. Awards in L.A. Naturally, anticipation is high for what he will wear next. His “Club Kid” co-star Cara Delevingne is also expected to dazzle on the Cannes carpet.

The Brand Activations

L.A. wellness leader Alo Yoga is hosting a sanctuary-style retail space and multi-day takeover of the Hotel Martinez pier, in keeping with the brand’s new business strategy of pushing further into the luxury market.

Star stylist Law Roach is partnering with longtime Cannes sponsor Magnum Ice Cream, acting as “Taste Architect” to bring the new Magnum La Pistache and Magnum La Pêche to the beachfront activation.

Chopard continues its run of crafting the Palme d’Or and bedazzling guests as an official Cannes partner, while the festival wraps with the premier fashion-focused charity event, the amfAR gala on May 21 at Hotel du Cap-Eden-Roc.

The Must-See Fashion Film

Fashion’s fixation on archival glamour should find a compelling reflection in Ron Howard’s documentary on Richard Avedon. The director — whose previous subjects have ranged from the Beatles to Luciano Pavarotti — now turns his attention to the legendary photographer whose vision helped define modern fashion imagery across six decades at Harper’s Bazaar, Vogue, and The New Yorker.

For fashion audiences descending on the Croisette, “Avedon” will contextualize the photographer’s enduring influence, drawing on his personal archives, behind-the-scenes footage and interviews with collaborators. Known for bringing movement, emotion and psychological intensity to his work, Avedon transformed static portraiture into something cinematic and alive, producing such memorable images as “Dovima With Elephants” (1955) and “Nastassja Kinski and the Serpent” (1981).

Gehry at Gagosian

Fish were a recurring motif in Frank Gehry’s work, influencing not only his sculptures but his architecture, including the silvery, undulating shape of Walt Disney Concert Hall in downtown L.A.

On May 14, Gagosian Beverly Hills will open the first exhibition of Gehry’s works since his death in 2025, focusing on the animal forms that animated his art. 

Organized in collaboration with Gehry’s family and designed by his studio, the show demonstrates how he achieved fluidity of movement even while using industrial materials.

Among the highlights are “Bear with Us” (2014), a life-size sculpture rendered in gleaming faceted steel that looks impossibly soft, evoking crumpled foil despite its monumental weight. The work later inspired a Louis Vuitton clutch designed by Gehry in 2023, underscoring his fluidity between art and commercial design throughout his career.

“Untitled (Black Crocodile New York)” (2023), made from Formica, silicone and LED lights, transforms industrial materials into something tactile and whimsical, while “A Pair of Snake Lamps” (1989) combines gouache-painted papier-mâché with illumination, blurring the line between sculpture and functional object.

Central are Gehry’s celebrated fish sculptures, including “Fish on Fire” (2023), the final fish he created before his death. For Gehry, the fish was a “perfect form,” a motif that continues to be echoed in the sweeping curves and metallic surfaces of the soon-to-open Guggenheim Abu Dhabi.

The exhibition also includes ten works on paper in ink, watercolor and acrylic, where fish emerge through energetic black lines and bursts of color. Altogether, the show reveals a creative language rooted in movement, material experimentation and an enduring fascination with organic form.

Frank Gehry, May 24-June 27, Gagosian, 456 North Camden Drive, Beverly Hills.

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