Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear
Dior, Men, Fall Winter 2024-25, Ready to wear

NUMÉRO BERLIN AW24 PARIS FASHION WEEK – DIOR

DIOR MEN SHOW WINTER 2024/2025

“I had been thinking about the relationship between the ballet dancer Margot Fonteyn and Monsieur Dior. The masculine interpretation of this also involved thinking about her most famous dance partner: Rudolf Nureyev. Nureyev is entwined with my personal history because of my uncle, the photographer Colin Jones. Colin had been a ballet dancer, had a friendship with, and photographed the star. The collection, or rather collections, are about contrast: the contrasts in the House of Dior in terms of ready-to-wear and haute couture. It’s the difference between onstage and backstage; the life of Nureyev theatrically and in reality. Here, it is a meeting of the dancer’s style with that of the Dior archive.” – Kim Jones

In Kim Jones‘ presentation of the Dior Men’s Winter 2024-2025 Collection, the artistic director skillfully merges utility and lavishness, seamlessly blending the realities of ready-to-wear with the theatrical allure of haute couture. This season marks a notable debut, as the collection explores the dual lives of ballet dancer Rudolf Nureyev, incorporating rigor, excellence, ease, and discipline into both public and private spheres. Drawing inspiration from the Dior archive, the tailoring reflects Saint Laurent’s influence, emphasizing volumes, vents, pleats, and necklines. The clothing exudes a ’60s and ’70s straightforwardness, employing rich wool mélange in single-breasted simplicity and gently flared trousers. Elements of Nureyev’s dance style are evident in zipped wool jumpsuits, shorts, ribbed knits, and duffle-inflected outerwear, showcasing a harmonious fusion of his personal style with that of a practicing dancer. The couture segment magnificently mirrors the extravagance of Nureyev’s stage presence, capturing his flamboyance and elegance. Ancient Japanese hand techniques are employed in kimonos, and archive embroideries, including the iconic DeBussy dress worn by Margot Fonteyn, are reinterpreted with a masculine touch.

Accessories play a pivotal role in embodying the dual essence of simplicity and extravagance.

From leather constructions resembling dancing slippers to silk-polyester Mary-Jane sneakers and utilitarian bags amplifying house codes, the collection strikes a delicate balance between discipline and opulence. The presentation, directed by Baillie Walsh with music by Max Richter, is enhanced by a special rendition of Sergei Prokofiev’s “Dance of the Knights,” known for Nureyev and Fonteyn’s iconic performance in 1965. The show successfully captures the essence of Nureyev’s multifaceted life, seamlessly blending practicality and poetry, utility and extravagance.

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Photography by Miriam Marlene