On a balmy spring evening, the Los Angeles County Museum of Art became a living tableau of fashion’s most intimate art form: lingerie. Dior’s Cruise 2027 show—staged amid the museum’s new David Geffen Galleries—drew a constellation of stars, but the real story was in the underthings. Sabrina Carpenter, breathless and seconds late, modeled the opening look: a sheer pale primrose yellow dress, its transparency a modern echo of the 18th-century chemise à la reine, which liberated women from the corset. Beneath, a lace set paid homage to the house’s own 1947 New Look, which revived the wasp waist but also, paradoxically, the elaborate lingerie that structured it. Dior, after all, built its legacy on the “Bar” jacket—a silhouette that demanded a boned bustier, a fact often glossed over in our rush to praise the skirt’s volume.
Jisoo and Anya Taylor-Joy, Dior ambassadors both, embraced like old friends in a campaign reunion. Their warmth recalled the 1950s, when Dior’s “Ligne A” collection softened the corset’s grip, paving the way for the freer silhouettes that stars like Miley Cyrus—denim-clad and hometown proud—now take for granted. Jeff Goldblum and Emilie Livingston drew cheers; Al Pacino, a rare Hollywood ghost, drifted through. But it was Carpenter’s twirl, her slingbacks bow-adorned, that whispered of the lingerie museum’s own archive: the sheer dress, once a scandalous secret, now a red-carpet staple.
Afterward, guests sipped Champagne at Chateau Marmont, the night dissolving into karaoke. Hollywood, it seems, still writes its best scripts in lace and bone.
Originally reported by WWD