Jennifer Lawrence, Greta Lee and Taylor Russell bring three very different kinds of star power to Dior Cruise 2027Dior Cruise 2027. Together, they make a compelling case for Jonathan Anderson’s Hollywood.
Jennifer Lawrence. Greta Lee. Taylor Russell. There are cast announcements that make you curious, and then there are those that make you wonder why nobody brought these women together sooner. Dior’s new Cruise 2027 filmDior’s new Cruise 2027 film belongs firmly in the second category. The pleasure is in the combination: Lawrence’s wit and instinctive glamour, Lee’s extraordinary precision, Russell’s quietly unpredictable presence. Three actresses with distinct personalities, and three very good reasons to pay attention.
Set at the Los Angeles County Museum of Art, the campaign returns to the setting of Jonathan Anderson’s Cruise 2027 show. Camille Summers-Valli directs the film, with Sam Rock behind the campaign photography and Benjamin Bruno responsible for styling. It is an excellent creative ensemble in its own right, working with women who understand how much a look can communicate before anyone says a word. (dior.com, metalmagazine.eu)
The casting is particularly satisfying because each actress brings a different relationship to fashion. Lawrence has the assurance of someone whose image has been part of our visual vocabulary for years. Lee makes even the most exacting silhouette feel personal. Russell has that rare ability to wear something unexpected and make you reconsider why you ever thought it was difficult. Put them together, and the clothes acquire three distinct lives.
Lawrence is especially interesting at this point in her career. Her recent work in Lynne Ramsay’s Die My Love, opposite Robert Pattinson, places her in fiercely emotional territory: desire, motherhood, isolation, a woman becoming increasingly difficult for the people around her to understand. It is the kind of material that makes full use of her willingness to be unruly. That fearlessness is part of her appeal in fashion, too. Beneath the beautiful clothes, there is always the suggestion that she might say exactly what she thinks. (mubi.com)
In the film’s image of Lawrence wearing a plush white coat traced with irregular black lines, that balance feels particularly right. The generous collar, the shirt beneath it, the sweep of her hair: everything has presence, but she still looks like a woman with somewhere to go. There is something delicious about clothes this considered carrying the suggestion of an interrupted afternoon.
Then there is Greta Lee, whose fashion appearances have become essential viewing. She has an exceptionally good understanding of proportion, and the confidence to let an unfamiliar shape do its work. Her recent screen choices are equally intriguing. In Kent Jones’s Late Fame, alongside Willem Dafoe, she plays Gloria, an actress within a downtown New York literary circle. Coming after the emotional restraint of Past Lives, it is another reason to appreciate an actress who keeps finding new registers. Lee can make a character—and a garment—feel as though there is an entire private history behind it. (magpictures.com, wmagazine.com)
Taylor Russell completes the trio beautifully. There is a curiosity to her presence that keeps an image open; you want another moment with it. Her recent work includes Na Hong-jin’s Hope, selected for competition at Cannes in 2026, with an international ensemble including Hwang Jung-min, Zo In-sung, Hoyeon, Michael Fassbender and Alicia Vikander. Her appetite for unusual material makes her a particularly convincing presence within Anderson’s Dior. You believe she is interested in the clothes. You also believe she would have an opinion about them. (festival-cannes.com)
Anderson’s Hollywood references give this gathering a deeper fashion history. One starting point for Cruise 2027 was a Spring/Summer 1949 haute couture jacket worn by Marlene Dietrich in Alfred Hitchcock’s Stage Fright. From there, the collection moves through California poppy colors, floral embellishments, film noir shadows and pieces made in collaboration with Ed Ruscha. There is plenty of fantasy, grounded in the very physical pleasures of dressing: color against skin, an exaggerated silhouette, a beautiful surface catching the light. (dior.com, lvmh.com)
LACMA makes sense within that world. These are actresses whose work asks us to look closely, placed in a setting built around looking. Dior describes the campaign’s performers as playing versions of themselves, an appealing proposition when the personalities involved are this strong. Drew Starkey joins the wider campaign, extending its screen credentials; his recent work includes the fifth and final season of Outer Banks. The women’s film, however, has its own irresistible center of gravity in Lawrence, Lee and Russell. (dior.com, media.netflix.com)
What I love most is the taste behind that choice. These women do not offer interchangeable versions of glamour. Each has her own timing, her own way of occupying a frame, her own idea of what deserves our attention. Dior gives them a shared wardrobe and room to remain themselves.
Now, about getting all three into a feature film together.
