At Dior, the Magic Unfolds at Jonathan Anderson’s First Men’s Show
To say Jonathan Anderson’s debut at Dior was highly anticipated would be an understatement. Ever since the Irish designer was named creative director across all Dior collections—menswear, womenswear, and haute couture—expectations have been nothing short of monumental. Not only is he the first to hold such sweeping authority since Christian Dior himself, but at just 40, Anderson is widely considered one of the most gifted designers of his generation. Possibly the most gifted. Add to that fashion’s current state of subdued ennui—thanks, quiet luxury—and the stage was set for a full-throttle shake-up.
Dior, of course, staged its presentation at Les Invalides, but this season, the spectacle was more intimate. No sprawling crowds. Just a tight guest list and a moody, museum-like cube complete with two original Chardin paintings. The vibe was hushed, reverent—even punctual. Industry insiders showed up on time, aware that this wasn’t just another fashion show—it was the moment of the week. Anderson loyalists like Drew Starkey and Josh O’Connor were in the front row, joined by Rihanna and A$AP Rocky. In the fashion crowd? Pharrell. Donatella. Kris Van Assche. A room full of heavyweights, all clutching invitations designed as porcelain plates bearing three ceramic eggs. Subtle, strange, and full of intention.
Cue Bruce Springsteen. The first look emerged to the Boss’s gravelly voice: an oversized cargo short paired with a reinvented Bar jacket, a Wildean bow tie, and that most irreverent of combos—socks and sandals. With that, the line was drawn: this was not Kim Jones’ Dior. Anderson was here to rewrite the rules, remix the codes, and throw in a dash of his signature mischief while he was at it.
There were nods to Dior’s mid-century legacy—of course—but through the lens of British aristocratic quirk. Think vibrant waistcoats, printed capes, and sharply tailored frock coats with a twist. Across 67 looks, Anderson exercised restraint in the best way: revisiting the classics, rethinking the proportions, and in doing so, ushering Dior into a bold new chapter.
“I want everything to be reborn from itself,” Anderson said post-show. Earlier that day, he teased his intention to the press: “My idea is to decrypt and reprogram Dior.” And decrypt he did. The trench coat, denim trousers, fisherman knits, and double-breasted suits all returned to the runway, armed with inventive volumes, fresh palettes, and unexpected details.
Anderson knows what he’s doing—and exactly where he’s doing it. The essentials of the modern man are all accounted for, reimagined with just enough provocation. Even the iconic Book Tote got a literary upgrade, adorned with names like Bram Stoker and Pierre Choderlos de Laclos. Elsewhere, ties were loosened, hems unfinished, shirts left carelessly unbuttoned. The message? Relaxed elegance, controlled chaos. A kind of anti-perfection that feels perfectly now.
Anderson’s mission was clear: establish a new archetype—the Dior man, according to Jonathan. And if this debut is any indication, he’s already laid down a foundation worth building on. Now it’s just a matter of running with it
First published on gqmagazine.fr
