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PARIS (AP) — Inside the historic Ecole Militaire, with the Eiffel Tower looming above, Kate Moss and Robert Pattinson joined a star-studded audience for Dior Men's show at Paris Fashion Week — a slight but noticeable departure for Kim Jones.
Renowned for his gender-fluid designs, Jones on Friday embraced a sharper, more traditionally masculine aesthetic this season.
The white sanitized, almost ethereal staircase descending onto the runway was minimalist and angular — much like the designs themselves. It set the stage for a Jones collection inspired by the house’s mid-century heritage.
Taking cues from Christian Dior’s iconic “Ligne H,” or “H Line,” a revolutionary post-war silhouette designed to simplify women’s fashion, Jones reinterpreted it as clean, structured lines for men.
Stars shine bright
The front row was equally captivating. Kate Moss, ever the icon, caused a flurry of paparazzi snaps, resembling a goddess at the foot of the staircase.
Robert Pattinson, meanwhile, exuded his trademark brooding charm, drawing admiring glances. Louis Garrel, Nam Joo-hyuk, and J Balvin added their international star power, while Gwendoline Christie, statuesque and commanding, turned heads.
Rising stars Apo Nattawin and Mile Phakphum caused an uproar outside, underscoring Dior’s global cultural reach.
The looks — minimalist, masculine, couture
Jones delivered a collection that balanced precision with opulence. A black leather bomber, minimalist and stark, exemplified the pared-down refinement that underpinned the collection.
It typified Jones’ focus on structured masculinity.
Tailored opera capes, borrowed from Dior’s women’s couture archives, were reimagined sharply.
Polished leather boots adorned with satin bows — playfully nicknamed “bow caps” — brought a couture twist to otherwise restrained looks.
The finale featured a striking pink robe inspired by Dior’s 1948 (asterisk)Pondichery(asterisk) haute couture look, reinterpreted with intricate embroidery that shimmered. Hybrid sneakers, embroidered with motifs from Dior’s 1961 archives, injected youthful energy into the lineup.
Theme of transformation
Jones built the collection around metamorphosis, exploring menswear’s evolution from the ornamental excesses of the 18th century to the functional refinement of the 19th century.
Angular tailoring softened by satin bows, glass-bead embroidery reminiscent of raindrops, and chiaroscuro-inspired drapery underscored the duality that has become a hallmark of Jones’ work.
Seen and heard — a new direction
Front-row buzz centered on the shift in tone.
“It’s sharper, more grounded,” one insider noted, comparing this collection to Jones’ fluid designs of previous seasons.
Rumors circulated about whether this pivot was artistically motivated or influenced by Dior executives. Either way, Jones’ pragmatic approach to fashion — balancing artistry with wearability — delivered a strong collection.
What the designer says
“Mr. Dior’s Ligne H was in our heads even before going into the archive this season,” Jones said.
“It has elements that are graphic and angular, which felt eminently transferable into the men’s world," he said. "While a lot refers to the history of fashion, this is not historical fashion. Ultimately, in this collection, we wanted to say something about now.”
Jones’ work frequently draws praise for its ability to reinterpret Dior’s heritage for a modern audience, but at times, critics have noted that heavy archival references risk stifling bold innovation. In this collection, however, he struck a confident balance — reimagining Ligne H’s angular lines with a deliberate precision that worked.
Still, the pivot to a more traditionally masculine aesthetic may raise questions about whether this shift reflects Jones’ creative instincts or external pressures to align Dior Men with more commercially viable codes.
