Fashion rarely starts on time, especially when Rihanna is in the room. Nearly an hour behind schedule, Jonathan Anderson’s inaugural show for Dior Men began with a familiar silhouette (the house’s iconic Bar Jacket) reimagined through a sharply masculine lens. From there, things only got more compelling. Cover image: courtesy of Dior
OFFICIAL PARIS HAUTE COUTURE WEEK SCHEDULE FALL/WINTER 2025
JONATHAN ANDERSON’S DEBUT AT DIOR HOMME
“Please don’t stop me,” blared from the speakers. And honestly, we hope they don’t. Anderson’s Dior debut was a thrilling collision of codes: varsity sweaters, undone ties, deconstructed tailoring, and what are sure to become the next it-sneakers: worn, of course, with laces untied.
There was nostalgia, too—glittering capes and structured jackets that nodded to classic Dior but also undeniable modernity. Anderson leaned into a color palette of washed-out blues, sage greens, and soft lilacs, with styling that subverted menswear tropes: ties worn backward, oversized bows affixed to the neck, and a lavender waistcoat. This gentle unraveling of formality felt refreshing and necessary at a house known for its rigid elegance. Anderson’s version of the Bar Jacket, recut in rugged Irish Donegal tweed, was as much about rewriting house codes as it was about grounding them. Structured but worn shirtless, with a floppy bow tie knotted at the neck, it became less about perfection and more about personality.
The denim, boxy, and washed is already celebrity bait. Frankly, it might just outshine Dior’s women’s jeans; and that’s saying something. But the real tension lies in what Anderson has yet to reveal; all eyes now turn to September’s womenswear show.
SUIT AND TIE
Under his direction, the suit and tie take on new life. Prep gets punked, bows get blown up, shirts are tucked (or not), and silhouettes veer delightfully off-kilter. As for the bags, there were plenty, even if they played a supporting role. Tucked beneath sweeping capes, they peeked out with subtle swagger. The standout? A chocolate-colored suede tote, belted and sealed with the unmistakable CD logo. Echoes of Prada and Anderson’s loafer bag for JW Anderson came to mind, though this version felt distinctly Dior: sleek, practical, and just a touch ironic.
Some looks, particularly those pairing voluminous jeans with printed knit vests, channeled a cleaner, preppy take on Acne Studios’ chaotic cool. One all-white ensemble, anchored by a slouchy tote, flirted with surrealism. Another—cargo shorts, a puffer, and a crooked tie—looked like a punky schoolboy lost in his dad’s closet, but in the best way.
Florals and graphic prints played up the maximalist mood. Checks on shirts and vests echoed the iconic Lady D bag’s cannage motif. And the branding? Abundant. But at Dior Men, that’s less a critique than a fact of life. This house sells aspiration, and Anderson knows how to package it.
SELF REFERENCING
Something deeply familiar was beneath the surface of Anderson’s Dior debut, like déjà vu with a designer’s wink. You didn’t have to be a fashion historian to catch it: several looks closely resemble his Fall 2013 menswear collection. Oversized bows, fluid proportions, and that distinctive blend of preppy awkwardness? We’ve seen this take on menswear by Anderson before. But rather than feel repetitive, it read like a reclamation of Dior’s new direction. A designer referencing his archive, now at Dior, under the weight of heritage, signals a quiet confidence. Anderson wasn’t just stepping into a new chapter but folding his past into the future. After all, what better way to write a new narrative than to begin with your handwriting?
It’s too soon, however, to say what will become the Dior suit of this new chapter. Anderson’s fingerprints were all over the collection: Loewe’s playfulness, JW Anderson’s offbeat charm, but everything was filtered through a Dior lens. It was a balancing act between house codes and personal flair, and it worked. One of the final looks said it all: cargo culottes in dusty pink, layered and architectural, equal parts rebellious and refined.
There were glitters, boyish charm, long scarves, frayed sneakers, fisherman sandals, and jackets so impeccably cut they could only be Dior. It was a little messy, a little poetic, and entirely on point. Bravo, Anderson. What a beginning.
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