Dior’s Hype-Aware Pre-Fall 2020 Collection Is An Anthem Of Novel, Jazzy Luxury

Chidozie Obasi

Kim Jones has significantly reshaped Dior since his appointment as artistic director at the French Maison, along an all-inclusive team, crafting saddle-shaped bags, cultivating art references and fostering quintessential sartorial grandeur. However, in spite of the poise and nifty vibes, the key development that’s flaunted across his ever-polished aesthetic has been the playful algorithm mingling between couture and street. Such shift has fronted a new wave of veracity towards Jones’ creative ethos, who often tries to liaise slick-meets-street canons of modern dressing with a pretty tasteful -and dashing- allure. As such, the Dior man implies peerless sophistication.


His tenure saw a grand boost in sales, and unquestionably, his decadent show has brought nothing other a terrific sequel to that, starting with the collaboration with Shawn Stussy, artist who managed to overhaul the Maison’s logo and bee. As soon as the partnership was revealed ahead of the show, Dior was able serve-up “lit” to the brand’s central literature. Being a hype-filled provocateur by nature, Jones’ well conscious on how to buzz-off the internet. Case in point: The Supreme collaboration while at Louis Vuitton was, in fact, remarkably-deliberated. Outwardly, Stussy’s and Dior’s alliance might appear as a cunning move on behalf of the label. Furthermore, it could be feasibly inferred as a redux of Supreme’s: nonetheless, it’s completely authentic. A recent press release had Jones remarking: “I don’t choose people because they’re famous.” He adds: “When something becomes as iconic as that, it’s in the culture […].”

As far as luck (and for the most part, hype) are concerned, fans have witnessed the release of the new Jordan Air by Dior, produced in Italian factories that used the same leather found in French houses’ bags. The sneaker features the trademark swoosh in the Dior oblique logo jacquard, detail which took its major prominence and vigour on the catwalk. And believe it or not, Air Jordans are what the designer collects; he owns a whole lot of 40 pairs. But the cherished sneaker epitomised just the start of the street-meets-slick sartorial meld. Camp shirts in customary Stussy styles were finely beaded, emblazoned by micro/macro detailing that vulcanise a bold textural statement, forging new era of luxury. Elsewhere invigorating chromatism’s set against subtler palettes, nodded to hybrids that resolutely convey urban-luxe functionalism, emblazoned by a dose of refined and structural tailoring. The seamless points of tailoring streamline the man’s dressing code, defining a somewhat sporty-chic feel, able to alternate both sophistication and practicality.

Yet, urbanity indulged ease, fashioning a wacky anthology of refreshing cues for a generation buying into new politics and styles. And let’s not neglect to put our hands up for hypeaware ideals that are vastly burgeoning amid ever-escalating social levels. Indeed.


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