A Perfectly Balanced Pivot
Review of Dior Fall 2026 Men’s Fashion Show
By Angela Baidoo
At first glance, Jonathan Anderson’s sophomore collection for Dior may exhibit as a modern retelling of the time of Mods and Rockers – all punk attitude and parka jackets. But follow the trail of visual clues left by the multi-layered creative director and you will uncover that yes, the utilitarian and the Dandy were referenced (akin to Pharrell’s Louis Vuitton) but the influence of Paul Poiret’s work was also responsible for the flourishes of unexpected grandeur.
THE COLLECTION
THE VIBE
Paul Poiret’s Presence, Modern Party, Maximalist Military
Choosing to change tack is a shrewd move by Jonathan Anderson. A creative who operates in an industry forever fatigued and hungry for the next, next thing. Keeping his audience guessing is how the designer has continued to reinvent himself season-after-season. Whether for his own label or a storied fashion house. And while the ‘New Prep’ meets ‘Military Regalia’ themes dominated his first two (Spring 2026, Pre-fall 2026) collections for Dior’s menswear arm, for Fall he’s again bringing these seemingly disparate themes together with a heightened focus on the maximalist excesses (and unsung heroes) of the 1920s, in a mash-up no one saw coming.
An Instagram post 24 hours ago unveiled the source of this pivot – Paul Poiret. Yet, it’s no coincidence as a dedicated exhibition celebrating the fashion revolutionary – famed for liberating the female body by removing corsets from his creations – was staged at Musée des Arts Décoratifs until early this year. There also happens to be a commemorative plaque laid on the doorstep of the Dior atelier! Much like the couturier, Anderson has been known to shock the industry, or at the least shake it up every season. And in following Poiret’s footsteps, today’s collection freed the male body (although not every type of body). Playing with proportion (shrunken cable knit cardigans), volume (billowing bombers), as well as construction (the waist of the male version of the bar jacket was raised to just under the armpit, almost skewing its natural positioning). In paying direct homage to Paul Poiret, the opening sequin-embellished vests were a cut-off replica of an original dropped-waist gown from the 1920s, which actually looked better as a reworked ‘Going Out’ top for men. There were several more easter eggs to be found in the fluid metallic jacquard capes affixed to tailored wool overcoats, and in an asymmetric patchwork tunic dress that will surely have sent fans down a research rabbit-hole to be the first to unearth all of Anderson’s inspirations for the season.
A number of silhouettes received a decorative make over, adding an additional layer of decadence to the designer’s bow. The metallic floral jacquard trousers alone providing a reason to invest in the return of the slim pant silhouette next fall. As the category hasn’t seen any true boundary-pushing since the introduction of the Delft dress inspired cargo shorts from Anderson’s first presentation as creative director. The spirit of rock and roll was also to be found alive and kicking on today’s runway. Harking back to a time in the 70s and 80s when male musicians practised the art of peacocking by dressing up in evermore elaborate stage costumes to outdo each other. This manifested in neon yellow wigs, ultra-skinny and leather pants, snakeskin shoes and a nod to Michael Jackson à la embellished epaulettes, brought down to reality with their inclusion on button-down shirts and jersey striped polo tops.
THE DIRECTION
THE WRAP UP
Busting through the safety of singularity, Anderson has shown that he is unafraid of switching the narrative and layering onto the foundation he developed with his first menswear collection. Call backs may be made to the predecessors of the House, but this outing felt like a personal love letter to the past – as well as an homage to a great couturier who has clearly had a significant impact on the designer.
In a season that has adopted a conservative mindset of traditional dress codes, this felt like a welcome breath of fresh air and rebellion.
