In a captivating display at the Musée Rodin in Paris, Jonathan Anderson, the second-in-command at Dior’s menswear division, presented a collection that challenged the traditional notions of luxury and aristocracy. Attended by a star-studded audience, including actors Robert Pattinson and Mia Goth, as well as Formula One driver Lewis Hamilton, the show sought to redefine what it means to be part of the “new aristocracy” in today’s ever-evolving fashion landscape.
Anderson, known for his eclectic references and avant-garde approach, described the collection as “another character study,” delving into the idea of eccentricity and how it can shape the modern perception of social hierarchy. Rather than focusing on the aspect of wealth, the 41-year-old designer aimed to capture the essence of individuality and self-expression.
The opening looks set the tone, with models donning sequin camisole tops, skinny jeans, and snake-skin boots, each adorned with an unmistakably synthetic wig, ranging from scruffy and faded to a vibrant canary yellow. This juxtaposition of elements, as Anderson explained, was inspired by the French designer Paul Poiret, who famously rejected traditional couture techniques in favour of a more theatrical approach during the Belle Époque era.
The collection’s silhouettes and proportions played a crucial role in conveying Anderson’s vision. Instead of the traditional bar jacket’s hem sitting at the top of the thigh, they were cropped to above the hip, revealing glimpses of the models’ midriffs. Suiting also drew inspiration from pre-war references and 1960s cuts, as Anderson sought to “slightly fuck with the proportions” to create a sense of unorthodoxy.
Eclectic references abounded, from the influence of New Jersey musician MK Gee, whose roomy parka jackets with Poiret-esque frou-frou sleeves were paired with neat tailoring, to the lived-in aesthetic of the British comedy Withnail and I, which informed the faded and distressed fabrics.
Anderson, who became the first solo creative director of both menswear and womenswear at Dior since the brand’s founder, described his design approach as “collaging things together.” This was evident in the powder-blue polo shirt adorned with sparkly epaulettes, paired with floral-printed trousers, creating a look that he described as having “a bit of wrongness to it.”
In a fragile luxury market, where Dior’s parent company LVMH has faced recent challenges, Anderson’s ambitious new direction represents a bold move. However, the designer believes that a unique point of view and a focus on quality can set the brand apart from the competition and justify a higher price point.
As the commercial impact of Anderson’s debut collection is still being calculated, he is already looking to the future, seeking to “bridge the two ateliers” and provide a more personalized shopping experience for the modern consumer. In his own words, “That type of [siloed] thinking is no longer there. You leave the consumer to kind of make the decision for themselves. They can mix it up and find their own personal style.”
