So we came to this moment in fashion, when menswear’s pre-collections are as important as women’s. Or, as in case of Kim Jones’s latest line-up for Dior Men, even more significant (sorry, Maria Grazian Chiuri). It’s just his second season at Dior’s menswear line, but Jones isn’t afraid to take big steps to catch everybody’s attention. Well, and there are major reasons why Dior Men is so appealing lately – just see your Instagram feed that is still buzzing with the designer’s Tokyo extravaganza. The new collection reinterpreted Christian Dior’s love for Japanese culture through multiple lenses, including cherry blossom prints (thought no one would make them look THIS fresh) and two kimono-inspired looks, made in leather. But Kim smoothly avoided Japan-related clichés, by focusing on today’s Japanese way of dressing – and the beloved, futurist aesthetic. Best prove of the latter: Japanese artist Hajime Sorayama created a 39-foot fembot sculpture for the runway’s set; a similar silver robot appeared as a print in the collection. Utility and workwear were represented via metallic harnesses with Dior’s signature chair caning at the back and robot-inspired jewellery. Very cosmic. But what’s most impressive about Jones’s work at Dior – which he already demonstrated last season – is the way he combines menswear easiness with couture level craftsmanship. A white astrakhan bomber that shaded into a toile de Jouy is something elegant, yet wearable, and surely with a out-of-this-world price tag. The more conservative, business-kind of Dior Men client will choose tailoring and (possibly) several of those asymmetrical suits.
Collage by Edward Kanarecki.