PARIS — Dior’s menswear maestro Kim Jones reworked a sunny afternoon in Paris right into a starlit night of balletic grandeur at Paris Style Week, in a show of vogue theatrics.
Impressed by the legendary ballet icons Margot Fonteyn and Rudolf Nureyev, Jones delivered an exuberant spectacle on the Ecole Militaire annex on Friday.
Amid the haunting melodies of Sergei Prokofiev’s “Romeo and Juliet,” the gathering intertwined Dior’s positive tailoring with a joyful explosion of theatrical glamour. It drew screams and cheers from a VIP viewers — because it explored the duality of an artist’s persona onstage and backstage.
Listed here are some highlights of the fall-winter 2024 males’s reveals:
In a entrance row as starry because the simulated evening sky above, luminaries like Lewis Hamilton, Invoice Nighy, Kate Moss, Nicholas Hoult, Rita Ora, Princess Eugenie and Pharrell Williams witnessed a vogue ballet that transcended the standard runway. Their presence underscored the gathering’s attraction to a various viewers, from royalty to popular culture icons.
Jones’ mastery in mixing conventional codes with modernity was evident. Muted beiges and grays, signature to Dior’s palette, have been enlivened with exuberant bursts of coloration — saffron yellow socks, lilac blue sandals, and purses, and vividly striped sweaters.
The items de resistance included a gleaming Renaissance cape-shawl with silver scallop fringe and woolen coats reinvented with double sleeves, cascading down poetically.
Echoing Jones’ personal phrases, “The gathering, or reasonably collections, are about distinction: the contrasts within the Home of Dior by way of ready-to-wear and high fashion. It’s the distinction between onstage and backstage; the lifetime of Nureyev theatrically and in actuality.”
This sentiment was captured in contrasts between the subdued tones and tailoring of the primary half of the present and the shimmer, gleam and sparkle that dominated the latter half in a blinding crescendo.
The gathering verged on the encyclopedic. A silver Uchikake kimono paid homage to Nureyev’s lavish model. Alongside this have been fashionable silhouettes — modern trousers and ribbed knits, every a testomony to Jones’ modern aptitude.
Because the present culminated, the viewers was left half in awe and half grappling for his or her cameras because the neon stage rose up like a sci-fi film carrying the fashions into the air. Thus it melded kinds from the previous with a futuristic, space-age edge.
In a fashion-forward fusion of conventional themes and streetwise aptitude, designer Nigo’s Friday evening present for Kenzo whispered of soppy warriors and echoed the model’s previous.
This season’s assortment signified a slight departure from the earlier spring’s concentrate on preppy and collegiate themes.
Nigo started fall with an reinterpretation of checks — a microscopic view remodeling into blown up patterns, with silhouettes comprising broad shoulders and cascading lapels. A spotlight was a pastel furry vest, resembling armor, but with a streetwear edge. This piece, adorned with a diagonal black strap harking back to an Asian sword tie, encapsulated the theme of “gentle warriors.” Likewise, so did the martial arts-style belts adorning a number of ladies’s outfits.
Nigo, Kenzo’s first Japanese designer since founder Kenzo Takada, stepped into the highlight in his January 2022 debut, marking a pivotal second in vogue historical past. His journey, from the colourful streets of A Bathing Ape to the luxurious corridors of Kenzo, displays a shift within the business’s strategy to range and creativity.
The parallels between Nigo and Takada are placing. Each share Japanese roots, attended the identical Tokyo vogue school, and possess an East-meets-West creative imaginative and prescient. Nigo’s tenure at Kenzo brings a mix of his streetwear heritage and the home’s conventional motifs.
Junya Watanabe unveiled a set that was a masterful mix of eerie mood-setting and aggressive city vogue. The spot-lit runway, casting elongated shadows, set the stage for a present that echoed Watanabe’s long-standing custom of avant-garde experimentation and cultural fusion.
The fashions, typically adorned with black punk-styled hair and draped in billowing jewellery, walked down the runway in darkish ensembles that appeared to seize the essence of Watanabe’s distinctive design ethos.
Their apparel, a chaotic but intentional layering of kinds, evoked the sense of a meticulously curated thrift store journey. This strategy, harking back to Watanabe’s earlier works, highlighted his potential to remodel the shambolic into the chic.
The garments featured a mixture of conventional tailoring and streetwear parts, a nod to his 2001 debut when he first merged excessive vogue with on a regular basis put on. The gathering’s tailor-made jackets have been reinterpreted with the home’s distinctive perspective, blurring the strains between formal and informal.
This inventive contradiction was seen in using unconventional cloth mixtures and turning basic silhouettes into one thing very modern. The eclectic, layered items, appeared to embody the spirit of Watanabe’s philosophy: a fusion of the standard and the avant-garde.