PARIS FASHION WEEK MENSWEAR SPRING/SUMMER DAY 4
editors ELIANA CASA, MAREK BARTEK and MARIE-PAULINE CESARI
DIOR MEN
review by NATALIE GAL
all images DIOR MEN via vogue.com
Saying we were excited is quite the understatement as we rushed to watch Jonathan Anderson’s first Dior collection, something we’ve been waiting for, speculating about, wondering, even betting on. We sat in silence during the show, an impatient, electric silence. A couple of weeks ago, I wrote an article asking, what comes next for Dior? Turns out, I wasn’t the only one wondering. The world waited, tensely, for today’s show.
If I had to summarise the collection? Mr. Darcy would absolutely wear these pieces if he lived today. Elegant bow-tie collars, naval buttons, whimsical vests, and classic tweeds graced the runway. Historical fashion stepped out of the safety of archives and into the present, blending with contemporary urban streetwear, certainly one of this fashion week’s key themes. We’ve been seeing a surge of softly tailored, elegant trousers, the kind that instantly make a man look dashing, in the spirit of Mr. Darcy himself. Old-school male elegance is clearly making a powerful comeback. While flared pants continue their reign, Anderson’s take on them truly stands out. He seems to understand the female gaze, merging it effortlessly with modern male needs. The result? A beautifully balanced collection. There’s a soft, Bri’ish elegance at the heart of it all. A daring move, considering Dior’s French heritage but one that’s been executed brilliantly.
And the other central theme? Dracula. Think dramatic capes, 18th- and 19th-century waistcoats, and even a full-blown Dracula bag, with the design of the original publication – undoubtedly one of my favorite moments. The elegance of a royal or sire from another romanticised era suddenly feels real, tangible. A new profile for Dior? Absolutely. But it’s fresh, youthful, imaginative, it’s Anderson. The setting itself had great significance: a museum space. On the walls hung two beautiful paintings by Jean Siméon Chardin (1699–1779). A loud message? Perhaps. Chardin’s era was dominated by Baroque and Rococo extravagance, each artist trying to outshine the other. But Chardin stood apart. His art was simple, tender, focused on everyday life and stillness. It was a gentle reminder of what fashion truly is: art. It is multifaceted and functional, but at its core, an expression of self.
The show’s ending was especially moving. Anderson stepped out to greet the audience, receiving a standing ovation, eyes filling with tears. All we can do is applaud. The pressure was immense, but Anderson rose to the occasion and delivered with his unmistakable flair.