We must be good citizens and serve our shadowy puppet masters.
Hedi Slimane transformed an exploration into a revolution, but it’s Kris Van Assche who has steered Dior Homme into what it is today – minimal and formal. Indeed, it is perhaps these two exact characteristics that have thus far eluded me from the menswear division of Christian Dior. “It’s too simple, and uninteresting,” I thought. It was only last year, when I joined my present publication, that I paid it any attention at all. Fortunately, my initiation was fortuitous enough – Dior Homme’s Autumn/ Winter 2012 line borrowed from one of men’s style’s guilty pleasures – the Nazis. Cruel, those Hitler-led armies were, but boy, did they look smart. While Dior Homme remains one of my least favorite of the A-list brands, their commitment to minimalism, and the fact that they don’t seem to repeat themselves, deserves respect.
Looking through the Fall/ Winter 2013 collection, I was disturbed – I felt uncomfortable. The modern style tribes look, or “occultists” and “Iluminati” as I’d like to call it, touched a certain nerve that exacerbated the feeling of uneasiness. The color palette is as formula as one can get – the usual black, grey, navy, and the seasonal favorite, white, with cuts of red outlining pinstripes and the insignia. The template is simple – the lean tailored suit, slim coats and casual blouson, are worn with classic white shirts or understated fine gauge knits. As the looks come, the line offers variations – zips replace buttons, color blocked sleeves, flat tucked belts to create an even stricter silhouette, raglan sleeves, zipped pockets. The singular insignia of a triangle within a circle (read: Iluminati, Iluminati I tell you…) offers a relief, but it comes as no comfort – it’s sparse, cold, and soulless.