The designer’s latest collection channels the Buffalo member’s riotous style in commemoration of the second anniversary of his death
Day three of Paris Fashion Week men’s and we’re on the home stretch, with the likes of Louis Vuitton, Rick Owens, and Raf Simons all ticked off the list, and Jacquemus, Craig Green, and Ludovic de Saint Sernin still to go this weekend. Before all that kicks off, though, we’re back with Kim Jones for his latest Dior show. This is what you missed.
PARIS IS REALLY INTO THE SMOKE THIS SEASON
Following in the footsteps of Rick Owens, who pumped his runway full of dry ice-created mist yesterday, Jones was also big into the aesthetic for AW20. Taking place at the Place du Concorde inside a specially constructed space, big glass boxes filled with smoke that were lit with different coloured lights stood at the centre of the catwalk.
COURTNEY LOVE SHOWED UP
...sitting front row next to Kate Moss, Victoria Beckham, Cara Delevingne, Robert Pattinson, and Adwoa Aboah. Oh, to flick through Kim Jones’ little black book.
THE COLLECTION WAS A TRIBUTE TO JUDY BLAME
Shortly before the show, the Dior Instagram hinted at the inspiration behind this season’s offering, before posting a portrait of the late, great iconoclast himself. A good friend and longtime collaborator of Kim Jones, Blame’s influence and signature aesthetic could be felt throughout the offering, with berets and caps festooned with chains, coins, and charms, keys worn strung around necks, and earrings crafted from silver safety pins all on the line-up.
…AND THE BUFFALO INFLUENCE WAS PRETTY STRONG WHEN IT CAME TO THE CLOTHES, TOO
The aesthetic Blame and his fellow Buffalo collective members (including Jamie Morgan, Ray Petri, and Neneh Cherry) cultivated in the mid-80s was evident throughout Jones’ new-season offering, with refined tailoring given a punk edge through unexpected detailing and flourishes. Slim suits were finished with buttons and badges and contrasting lapels, while intarsia sweaters bearing traditional artworks were layered under classic trenches and the Buffalo gang’s signature satin bombers, which in this instance had been updated with contrasting panels and ‘Dior’ logo detailing.
The collection also featured knee-length silk shirts emblazoned with paisley and newspaper prints, in reference to both the punk scene Blame was a part of, as well as John Galliano’s iconic (and recently ripped-off) print for the house.
