Dior and A24 Are Building Something Beyond the Screen

Dior’s relationship with cinema is entering new territory. The house has joined forces with A24 for a two year partnership spanning film, theatre, fashion and live programming, with New York’s historic Cherry Lane Theatre at its centre. Bringing Jonathan Anderson’s expanding cultural vision together with A24’s filmmaking world, the collaboration suggests a more ambitious role for fashion in entertainment, one that moves beyond dressing stars and placing products to participating in how culture itself gets made.

Dior is moving deeper into the world of cinema, this time alongside one of contemporary film’s most influential independent studios. The French house and A24 have announced a two year creative partnership spanning film, theatre, fashion and live performance, bringing together two institutions with very different histories but an increasingly shared interest in how stories are made and experienced.

At the centre of the partnership is New York’s Cherry Lane Theatre. Founded in 1924 and acquired by A24 in 2023, the Greenwich Village institution reopened under the studio’s stewardship in 2025. Dior will now become its premier partner, with the collaboration extending beyond the theatre into a wider programme intended to connect artists and creators across film, performance and fashion.

For Dior, the relationship with cinema is hardly new. Christian Dior dressed actresses including Marlene Dietrich and Ava Gardner, and the house has maintained close ties to filmmakers, actors and international film festivals across generations. Under Jonathan Anderson, however, that relationship is beginning to take a different shape.

Anderson comes to the partnership with his own connections to filmmaking. He designed the costumes for Luca Guadagnino’s Queer, released by A24 in the United States, and met Rose Garnett, head of A24 UK, through the project. Their conversations continued beyond the film, eventually developing into a broader discussion about how fashion and entertainment might create something together without falling into the familiar machinery of celebrity dressing and product placement.

That distinction appears fundamental to the project. Anderson has been explicit that he is less interested in placing Dior handbags on cinema screens or simply dressing actresses for awards season than in exploring new forms of storytelling and cultural participation. A24, meanwhile, has built much of its reputation by giving distinctive filmmakers and unconventional stories access to audiences far beyond traditional independent cinema.

The first glimpse of that shared sensibility comes through an appropriately self-aware campaign. Sabrina Carpenter, Camille Cottin, Josh O’Connor, Drew Starkey and Sophie Wilde appear in an acting exercise built around playing Anderson himself, introducing the collaboration with humour rather than the polished solemnity often associated with luxury partnerships.

The Cherry Lane Theatre gives those ambitions a physical home. The partnership begins as the venue marks the first anniversary of its reopening under A24, with Dior supporting programming across theatre, film and the wider creative community. Both organisations have also stated an intention to support emerging talent and student work, opening access to the creative and technical dimensions of filmmaking and theatre.

The timing matters. Fashion houses are increasingly moving beyond conventional sponsorship and into entertainment itself. Saint Laurent established a film production company in 2023, while luxury brands have long maintained highly visible relationships with Cannes, Venice and other major festivals. Dior and A24 are approaching that convergence from another direction, building a partnership around programming, artists and a permanent cultural space rather than announcing a fashion branded film slate.

It also arrives at a revealing moment for Anderson’s Dior. Since taking creative control of the house, he has shown an appetite for placing fashion within a wider cultural conversation rather than allowing the runway to operate in isolation. Dior’s Cruise 2027 collection explored the house’s longstanding relationship with Hollywood, while his collaborations and creative references have continued to move freely between fashion, art and cinema.

A24 brings another audience into that equation. The studio has become a cultural identifier in its own right, particularly among younger audiences, with a visual and storytelling language recognisable well beyond dedicated cinephiles. For Dior, that cultural proximity offers something conventional luxury advertising increasingly struggles to manufacture: participation in the worlds its next generation of customers already cares about.

The most interesting part of the partnership may therefore be what has not yet been announced. Two years gives Dior and A24 considerable room to experiment across film, theatre and live performance. Rather than a single campaign or sponsorship agreement, the Cherry Lane becomes a laboratory for what the relationship between fashion and entertainment might look like next.

Dior has spent decades dressing cinema. With A24, it is beginning to explore what happens when the house steps further inside it.