Attendees were effortlessly elegant. Theron descended on the party in a black tuxedo teamed with a bra and stilettos. Lee opted for denim and a pussy bow blouse, while Russell and the Jenner sisters each arrived in their own take on the perennial little black dress. Stanfield made a compelling case for double denim with a tie. Anderson, meanwhile, stayed loyal to his off-duty uniform: jeans, a Dior button-down, and a cable knit sweater.
Taking in the grandeur of the Peter Marino-designed four-story maison, which officially opened in late September and honors Dior’s deep connection to Hollywood, Anderson was in awe. “Christian Dior did a show here a long, long time ago,” he noted. “There’s something about the moment after the war with Dior, where you also had Hollywood in its golden era; the pinnacle. Dior interacted with Hollywood in a very French way. I think it will be interesting to explore that in the future.”
The symbiosis between fashion and film runs through Anderson’s own work too—he has already collaborated with director Luca Guadagnino on costumes for Challengers, Queer, and the upcoming Artificial. “I love being in LA,” he mused. “Because it feels like I’m on set in a film. It’s like an escape for me.”
On this particular evening, said escape took the form of an intimate gathering on the fourth floor VIP salon, accessible only by a private elevator. Guests mingled on the terrace for Champagne, served in the house’s signature cannage crystal flutes. The party eventually moved into the dining room, where long tables were laden with Dior’s Toile de Jouy china. The menu—caviar accompanied by egg yolk jam and buckwheat madeleines, followed by dry-aged tuna tartare, then violette de mer with beurre blanc and uni béarnaise—was designed by three-star Michelin chef Dominique Crenn, who helms Monsieur Dior on the building’s third floor—the first Dior restaurant outside of Paris.
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