Dior Homme’s runway was illuminated by row upon row of strip lights and titled, simply, Light. And the invitation for it arrived in a sharp navy envelope, which proved to be more of a clue than we first thought.
To the strains of Koudlam’s version of PIL’s This is Not a Love Song, the looks came thick and fast. Tailoring was stricter than in previous seasons, recalling that favorite of male obsessions, the uniform. From city worker to bellboy to naval officer, these were clean, delineated looks tailored to perfection, and without a millimeter to spare as the cuts were so vicious. Kris Van Assche started with clean and monochrome, then gradually unveiled the interiors, as the fabrics became lighter until they were see-through, seams visible.
This abstraction of navy gave us tight brass-buttoned blazers, the slickest wet look hair of the week, boat-neck tops, and a trio of Breton knits in key colors of navy, white and red. It was the same red that first appeared as shoelaces, working its way up the garments and into the topstitching in the leathers, culminating in full red shirting under perfect navy jackets.