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The show similarly straddled the past and the future, with a blend of house signatures and Trompe-l’oeil effects inspired by Arsham’s signature technique for eroding everyday objects.
Suits featured the flamboyant draped sashes Jones introduced last season, inspired by Richard Avedon’s famous “Dovima With Elephants” photograph. The look has been seen around the world, thanks to South Korean boy band BTS, who wear the striking outfits in the video that opens concerts on their current tour.
Jones rendered the construction in summer-friendly fabrics, without losing its sculptural panache. A pearl-gray suit sprouted a satiny white sash dipped in pink dye, to match the color gradient pink-and-white sand runway. In a dialed-down variant, silky panels draped around a single lapel like a contrasting shadow.
The designer nodded to the house’s couture heritage with exclusive creations like a boiler suit in a toile de Jouy pattern hand-painted by kimono craftsmen in Kyoto, Japan. “Only 10 of those can be made a year,” Jones noted. Pleated georgette embroideries by Lesage, in saturated blue or orange color gradients, were too fragile to be offered for sale.
The rest of the lineup was stuffed with covetable merch, including a capsule collection with luggage-maker Rimowa, featuring items such as a case with a bottle of Champagne strapped on top.
Jones noticed the house’s vintage newspaper print, first shown in 2000, was trending on Instagram, so he asked Arsham to help him revive it. A white-on-white version was used on items like a sheer bomber jacket, while a shirt and shorts were printed inside-out for a faded effect.
A cotton version recalled the lab coats worn by Arsham and his team (as well as Monsieur Dior himself in his day), while his signature reflective glasses — designed to correct his color blindness — appeared as futuristic shades worn with eye-catching legionnaire-style hats.