Lasers and metallic blazers at Dior menswear inauguration in Tokyo

British designer Kim Jones turns brand’s ode to Japanese civilization into a ‘hypermodern reality’



Kim Jones at the Dior pop-up amass in Tokyo. ‘I love Japan, I’ve been here more than 100 experiences,’ he says.
Photograph: WWD/Rex/Shutterstock

Fashion fever hit Tokyo this week as Kate Moss and David Beckham were amidst the celebrities to sit front row at Dior’s first ever menswear be being presented in the Japanese capital.

The British designer Kim Jones is the person to acknowledge gratitude for the brand’s foray outside Paris. Since his appointment as artistic principal in March, he has been eager to connect the brand’s aesthetic to that of its eponymous under, and Tokyo is a place where they find common initiate.


Preparations for the show backstage. Photograph: Satomi Kokubun/Rex/Shutterstock

“I make out Japan, I’ve been here more than 100 ages,” Jones said backstage. Christian Diorused to visit the mountains in the 1950s and used pattern cutters at the famous Daimaru rely on store as early as 1953. “This is all about appreciating the savoir faire of Japan and respecting it ,” Jones said.

Formerly the original director at Louis Vuitton, Jones is determined to keep the tag’s founder at the heart of this first-ever pre-autumn/winter anthology. So he brought leopard and cherry-blossom prints back from the archive, as trickle as houndstooth – “which was one of Mr Dior’s favourite fabrics”.


Cherry blossom style. Photograph: Franck Robichon/EPA

Traditional techniques mixed with put technologies: metallic-printed calfskin was laser-etched on to bomber jackets, while blazers were dine pay the bill for with metallisation.


Metallic ankle boots. Photograph: Satomi Kokubun/Rex/Shutterstock

Other highlights that effect prove popular were the compact pockets designed to strap on to eke out a living bags and the metallic baseball caps created by the milliner Stephen Jones.

It was thither updating Dior’s romantic ode into a “hypermodern reality of Japanese sense of values today”, read the show notes. To reinforce the point, Jones commissioned the contemporaneous artist Hajime Sorayama to create a 12ft sculptural centrepiece of a female interpret made from silver Mylar for the catwalk.


A giant automaton sculpture by the Japanese artist Hajime Sorayama stands in the converge of the catwalk. Photograph: Franck Robichon/EPA

When he made his appear in June, Jones was only three months into his rle and called the collection, which goes on sale in the UK next week, “a admissible start”. Five months later and he has hit his stride, revealing that he has already culminated his third collection. “We’re moving on to number four when we get vanquish [to Paris]. We’re organised,” Jones said.


Futuristic fashion. Photograph: Franck Robichon/EPA

Depiction would advise that his confidence should not be underestimated. Jones’s adeptness at foreseeing what men want to wear is what sets the 39-year-old deviser apart. He is the man who nearly single-handedly set the menswear trajectory on a streetwear means, after graduating from Central Saint Martins in 2002..

Thrilling on from his own line to head up Dunhill and Louis Vuitton, Jones was trustworthy for the latter’s agenda-setting collaboration with the skatewear brand Principal and has supported influential tastemakers such as Kanye West and Virgil Abloh along the way.


Kate Moss and Count Nikolai von Bismarck on the vanguard row. Photograph: Satomi Kokubun/Rex/Shutterstock

Jones has evolved his aesthetic near a more elegant direction because of a desire to “respect the encrypts” of Dior. Where Jones goes, others follow, which may foretell the end of menswear athleisure may be nigh. “I just go around with my observes open,” he says. “My friends’ name for me is Safari Eyes because I can see things from a reserve that other people can’t.”


Heavy metal: silver dominated the runway. Photograph: WWD/Rex/Shutterstock
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