Jonathan Anderson's first Lady Dior — released January 2026 — reimagines the bag as a series of lucky charms, a decision that connects his vision directly to Christian Dior's founding superstition. The Lady Dior Buttercup is covered in three-dimensional buttercups in bright yellow, a single bee nested among them — the bee being one of Dior's oldest symbolic codes. The Lady Dior Clover is embroidered with four-leaf clovers, a reference both to Christian Dior's belief in talismanic objects and to Anderson's own Irish heritage. A red ladybug sits among the clovers. Both bags are finished with the classic D.I.O.R. charms, connecting the Anderson era to the house's origin. "The Lady Dior is one of the most iconic bags in history," Anderson has said — and his approach to it is to add to its symbolic vocabulary rather than revise it. The buttercup is also the flower that grows wild in the Irish fields of his childhood: an Irish root grafted onto a French lucky charm, both of which trace back to a man who tripped over a star-shaped scrap of metal and decided it meant he should build something.

The Dior Bow Bag — Anderson's first new silhouette for the house — takes the bow motif, which Dior has deployed as decoration since Christian Dior's first collections, and makes it the structure of the bag itself. The folded front tucks into the open top in the shape of a tied ribbon; the chain strap has metal links interwoven with tiny bows; the curved handle references the Lady Dior without replicating it. The leather is soft yet structured, held in shape by what the house describes as "a secret process that maintains a sharp, defined contour while preserving the leather's suppleness." The invisible closure keeps the front surface clean. Available in small and medium, in smooth, metallic, and crinkled leather, in Buttercup Garden embroidery and Clover embroidery, in brown crocodile and Himalayan crocodile. "I wanted something young and casual, and a bit fun," Anderson told WWD. The house has never made a bag shaped like a bow before. The bow itself has been in Dior's decorative vocabulary since 1947. It took seventy-eight years to make the decoration the bag.

The Dior Book Tote — launched under Maria Grazia Chiuri and extended by Jonathan Anderson — is the bag in which the house's embroidery savoir-faire is most directly displayed. Anderson's Spring 2026 version adds a specifically literary dimension: Book Totes embroidered with the covers of real books. Bram Stoker's Dracula. Gustave Flaubert's Madame Bovary. Choderlos de Laclos's Les Liaisons Dangereuses. Françoise Sagan's Bonjour Tristesse. And the Dior by Dior autobiography — Christian Dior's own memoir — rendered in soft cream with the title finished with a pink ribbon. The Book Tote embroidered with its founder's own autobiography is the house's most precisely biographical object: the bag that carries the man who made the house, in his own words, in cotton thread. Additional versions include a vintage-effect Dior Oblique canvas trimmed with lace, a navy tone-on-tone with a white medallion nodding to the house's iconic chairs, and a Buttercup Garden print that extends the Anderson era's floral vocabulary into the tote format.

The Dior bag family extends across multiple creative eras, each of which has added a permanent silhouette. The Saddle Bag — launched by John Galliano in 1999, seen on Sex and the City, revived by Maria Grazia Chiuri in 2018 — remains one of the house's most recognizable shapes: its half-moon form and D-ring hardware immediately Dior, immediately 1999, and entirely current. The 30 Montaigne — named for the house's address — is the contemporary workhorse of the range: clean, structured, versatile, the bag that belongs to no specific creative era and to all of them. The Lady D-Lite presents the Lady Dior codes in embroidered canvas rather than quilted leather, the Christian Dior signature appearing on the front face. The Lady D-Joy offers the Lady Dior in a horizontal elongated format. The Lady 95.22 — named for 1995 and 2022 — reinterprets the original with macro-cannage quilting and softened edges. Each silhouette is a new date in the naming convention that the Lady Dior established in 1995: the bag as a record of when it was made and for whom.

Jonathan Anderson was appointed creative director of Christian Dior in April 2025 — the eighth creative director in the house's history, and the first to oversee women's, men's, and haute couture simultaneously since Christian Dior himself. Before his debut women's show at the Jardin des Tuileries on October 1, 2025, he projected a short film onto an upside-down pyramid hovering above an open Dior box: footage tracing every creative director from Christian Dior to Yves Saint Laurent, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri — the house's entire succession, spilling out of the box before his first models walked. "We live in a bizarre moment," he told Alexander Fury before the show. "This is escapism." His approach to the bags — the buttercup, the clover, the bow, the literary Book Tote — enacts this escapism through specific, personal, coded beauty: flowers from Irish fields on a French lucky-charm bag, literature on a tote, a bow that was always in the house and never yet the bag itself. John Galliano, who preceded him here, left one piece of advice: "The more that you love the brand, the more it will love you back."

Since 2016, the Dior Lady Art Project has invited international artists to reinterpret the Lady Dior each year — transforming the bag into a collector's object at the intersection of fashion and contemporary art. The project extends the creative collaboration tradition that Christian Dior established in 1947, when he began working with artists and artisans to produce objects that exceeded the category of clothing. Marion Cotillard was the Lady Dior's ambassador for nine years, from 2008 to 2017, and designed her own version of the bag for the house in 2012 — the only time an ambassador has been given creative authorship of the object they represent. The Spring 2026 campaign photographed by David Sims — featuring Mia Goth, Greta Lee, and Mikey Madison at the Pavillon de Musique de la Comtesse du Barry — frames the Lady Dior within the 18th-century French references that pervade Anderson's first Dior collection, posing its subjects "instinctively and spontaneously, without artifice," in a way that connects the bag's aristocratic codes to a contemporary sensibility of ease. The Lady Dior was named for Princess Diana. It is now carried by every woman who considers herself, in some sense, her own kind of princess.