Hollywood is “The Dream Factory,” as Jonathan Anderson said in his movie script-style show notes for Dior resort 2027. The designer’s first resort collection for the house brought cinematic fantasy to LACMA—but, maybe more than that, hinted at his own big Hollywood dreams being further realized.

Toted by Macaulay Culkin and seen on the runway was a new addition to Anderson’s book tote range: a black and red accented American Psycho bag. The accessory joins a lineup that includes the acid-yellow Dracula (a firm favorite of Rihanna and Jennifer Lawrence), dusty pink Les Liaisons Dangereuses, and cornflower blue Ulysses. Following the relaunch of JW Anderson as a lifestyle proposition and designing no fewer than six collections in his first year at Dior, it looks like designing the costumes for the forthcoming American Psycho movie reboot could be Jonathan Anderson’s next great plot twist. (One that, probably, we all saw coming.)

The house of Dior has a longstanding relationship with cinema—Christian Dior was a filmic dreamer. He designed the French Second Empire costumes for the 1942 movie Le Lit à Colonnes, while working for couturier Lucien Lelong, before he founded his own label in 1946. It was those romantic, structured silhouettes that would bolster the New Look. In 1955, he was nominated for an Academy Award for his costuming of Terminal Station, and in 1950, he designed for the pre-New Wave Les Enfants Terribles and Alfred Hitchcock’s Stage Fright, in which he dressed Marlene Dietrich. These served as Anderson’s initial inspiration. “No Dior, no Dietrich!” Golden Age icon Dietrich told Hitchcock and Warner Bros execs during negotiations for her part as the sultry, glamorous Charlotte Inwood.

“Christian Dior understood how important the idea of ‘the dream’ was for people after the war,” notes Anderson. From the ateliers to the lot, “it was all part of the same cross-cultural shift.”

The designer teased a forthcoming cinematic project (projects?) in a preview of the resort collection. “What you’re seeing here,” Anderson told Sarah Mower, “is part of a kind of broader picture of what we will do over the next 12 months in cinema. We’re in Hollywood, and we’re starting something, but it will be a larger picture thing that we will do with franchises, with film, with other things. So this is going to be like: how does a fashion house work with cinema? And how does the cinema work with a fashion house, and what is a new type of business model within that?”

Anderson has made all the right moves toward Hollywood power playing so far while juggling his creative directorship at Dior and his own namesake brand. Costume design is already a side hustle, having worked on friend and director Luca Guadagnino’s Challengers (2024), Queer (2024), and the forthcoming film Artificial. (Anderson hails from Northern Ireland, a region with its own lively film industry and the location for many a Hollywood film and HBO series.)

Challengers was defined by Anderson’s unique understanding of everyday clothes—Zendaya’s “I TOLD YA” tee is a moment that sartorially articulates her character’s growing ambition. Queer, meanwhile, paid particular attention to historical detail, with Anderson diligently making sure garments were timely and likely to have been found worn by drug-spangled gay expats in 1950s Mexico City.

“It’s about characterization, and there’s no preciousness around it representing just one vision,” Anderson told Vogue upon the release of Queer. “Ultimately, I think about cinema as history-making…When you’re building an image or a look of a character, ultimately you have to think of how this is going to sit in the landscape of time.”

Austin Butler is set to play Patrick Bateman in what is being described as a new interpretation of Bret Easton Ellis’s original book, rather than an adaptation of Mary Harron’s acclaimed 2000 movie. Starring Christian Bale as the investment banker with a double life as a serial killer, the original movie in a highly saturated horror comedy that satirized yuppie culture and ’80s-style excessive consumerism. Costumes, by Isis Mussenden, featured sharp-as-a-knife tailoring and corporate armory, a starched and gelled veneer for Bateman’s dark insides. Those razor-edged power suits were mostly Armani and Valentino.

Will Austin Butler don an Anderson-era Dior Bar jacket for the office in Guadagnino’s American Psycho,? Might the sweet, naive Jean (originally played by Chloë Sevigny) swap shoulder pads and a briefcase for a drop waist, pleats, and a saddle bag?

For a book that Easton Ellis thought was unmakeable as a movie, it’s exciting to think about where Anderson and Guadagnino might push it. We await any potential IMDb announcement with bated breath.

Vogue has reached out to Luca Guadagnino’s production company for comment.