Dior Homme collection goes back to its roots
Print Edition
AN idea of L’Homme Dior was in the air at Long Museum, a private gallery of contemporary art in Shanghai.
The strength of Dior Homme’s original reed-thin and youthful aesthetics continued to shine through but the concept of Savile Row meeting Monsieur Dior’s archive was reflected in the 2014 winter collection; at the same time the traditional high end meets the high end of the street.
Last year, Dior Homme was in Beijing for its first-ever show outside of Paris. The fashion house joined hands with China once again this year, bringing more than 40 ready-to-wear looks from its latest collection to Shanghai, China’s fashion capital.
“It’s a privilege to return to China with our runway show,” said creative director of Dior Homme, Kris Van Assche. “It seemed a natural choice. China is obviously an important market for Dior Homme and a constant source of inspiration. It feels right and appropriate to bring our show here.”
This season, Van Assche played with formal and informal looks. He looked at what really constitutes luxury, like extravagance and individuality, freedom and playfulness.
Alongside bold mono-stripes, large polka dots, and Van Assche’s own take on Mondrian-style patch-working in contrasting fabrics, the figure of Christian Dior loomed large over the latest winter collection. Monsieur Dior’s personal motifs and good luck charms — Lily of the Valley, the star, the heart and the coin — became leitmotifs for the entire collection.
Found in a multiplicity of embroideries, prints, patterns and knits as well as masculine jewelry such as tie pins and more unconventional white metal brooches, they weaved their way throughout the entire offering representing, luck, extravagance and playfulness.
“This is probably the most Monsieur Dior collection I have ever done,” said Van Assche. “In many ways I put the idea of the man, the individual, in front of the brand: an idea of L’Homme Dior.” An interest in Monsieur Dior’s archive — both masculine (in terms of fabric and ties) and feminine (embroideries from the Haute Couture) — lead to transposing and recontextualizing ideas for the collection.
“I wanted it all to be about the individual again, a feeling of uniqueness and what luxury is really about.”
However, the tricky part was that Monsieur Dior was never a menswear designer.
“There is absolutely nothing to be found in the archives, except for a collection of ties,” Van Assche said.
“Christian Dior’s dresses were all about construction, which is very similar to my approach on menswear. Whatever you see on the outside depends on what it is based on underneath, on the inside of the garment. Also, Monsieur Dior used to say he was quite surprised people described his work as extravagant, because his only aim was to try and make women as beautiful as possible. That, together with his strive for elegance, is also something I truly relate to,” he added.
Each new season Van Assche said he is inspired by the previous one as there are always some ideas that he didn’t have time to fully develop.
“I now have a precise idea in my head about ‘the Dior Man,’ who evolves. His reality, his desires, his interests, they inspire me.”
Assche explained that things have changed since he arrived at Dior. “Now, there no longer is only one type of ‘Dior Homme — man,’ but several styles of men. They read different books, have different jobs and different needs. This is both the most difficult and interesting part of my job.
“I like the idea we can both dress very demanding business men, who have an eye for cut, detail and quality, and very young fashion fans looking for strong identity pieces with high creativity.”
Those diverse demands inspire Van Assche. He has often used elements from a structured, tailored jacket to create the strongest fashion pieces. And the younger clients — with their desire for more comfortable, fluid clothes — have influenced the traditional clothes where he has introduced a less stiff approach.
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