Dior Homme A/W 2014
Dior Homme A/W 2014
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
Not since his debut collection for Dior Homme has artistic director Kris Van Assche delved so deeply into the house archives as he did for his Fall offering, tipping his hat at the elegant affectations of Monsieur Dior himself to create a dichotomy of romantic mid-century classicism with new urban refinement. Filling the Tennis Club de Paris with the house's heady scent of 'Lily of the Valley' (the May Day muguet flowers were on every seat), Van Assche opened the show with the delicate white blossoms as brooches and embroidery inspired by archival imagery of Christian Dior, weaving together a high-low tale that combined polka dots, assorted chalk stripe tailoring, denim workwear and multi-pocket military flak jackets with a Mod-like ease.
Photography: Anna Stokland/Jason Lloyd-Evans
