Fred again.. creates original soundtrack for Dior men’s SS27 show in Paris

The Dior men’s spring-summer 2027 show took place at the Musée Nissim de Camondo in Paris on June 24, 2026, and was designed by Jonathan Anderson; Fred again.. creates original soundtrack for Dior men’s SS27 show in Paris, producing an original mix that filled the presentation.

The sound design incorporated tracks by KTNA, Mabe Fratti and Jamie T, unreleased vocals from Christine and the Queens, and contributions from Headie One, Jhené Aiko, KETTAMA, Latin Mafia and Young Thug.

Stage elements included chairs and benches covered with black tiles that resembled disco balls, and the performance began around 9 a.m.; the first model entered silently before Fred again..’s music filled the museum, temporarily transforming the space into a morning rave.

Jonathan Anderson described Fred again..’s process as sampling, remixing and rearranging existing materials, and he said that approach inspired the SS27 wardrobe, which juxtaposed embroidery and couture references with worn denim, deconstructed tailoring, lamé and club-culture motifs.

The Dior men’s spring-summer 2027 show took place at the Musée Nissim de Camondo in Paris on June 24, 2026, and was presented by designer Jonathan Anderson. The museum is undergoing restoration, and the show treated that restoration as part of its contemporary energy. Anderson staged the presentation to begin around 9 a.m. to avoid a heatwave. The timing and location set the framework for an encounter between historical architecture and the collection’s varied references.

Fred again.. created all the music for the show, producing an original mix that served as the event’s soundtrack. The sound design incorporated tracks by KTNA, Mabe Fratti and Jamie T alongside unreleased vocals from Christine and the Queens. Additional contributions to the mix came from Headie One, Jhené Aiko, KETTAMA, Latin Mafia and Young Thug. Jonathan Anderson described Fred again..’s process as sampling, remixing and rearranging existing materials. Anderson said that this musical approach inspired aspects of the SS27 wardrobe.

Stage design featured chairs and benches covered with black tiles resembling disco balls, a nod to a black Dior disco ball. The first model entered silently, approached a speaker and pretended to plug in a cable before the music began, and Fred again..’s mix then filled the gardens and salons of the museum. The bass filled the space and temporarily transformed the normally quiet building into a morning rave. The combination of timing, sound and staging created a deliberate encounter between fashion, architecture and rave culture.

Jonathan Anderson said, “It’s a question of juxtaposing the historical and the contemporary and bringing Fred again..’s music into a usually quiet space.” He added that he “had always wanted to work with him.” Anderson described the staged opening in direct terms: “The first model entered silently, approached a speaker, pretended to plug in a cable, and that was when Fred again..’s music filled the gardens and salons of the museum, temporarily transforming this normally quiet place into a morning rave.”

The SS27 wardrobe presented at the Dior men’s show juxtaposed different eras and codes, combining embroidery and couture references with worn denim, deconstructed tailoring, lamé and club-culture motifs. Pieces paired traditional craftsmanship and ornamental detailing with elements that implied wear and lived experience, and metallic lamé and club-inspired accents appeared alongside tailored forms. The collection mixed finishing and fabric references typical of couture with casual, distressed silhouettes and clubwear signifiers rather than presenting a single uniform direction. This interplay of high and low codes created visible contrasts across silhouettes and surface treatments.

Jonathan Anderson described the musical collaborator’s working method as sampling, remixing and rearranging existing materials, and he reported that this process inspired the collection’s approach to dressmaking and material choices. The wardrobe’s juxtaposition of embroidery and couture references with worn denim, deconstructed tailoring, lamé and club-culture motifs reflected that inspiration by placing archival or hand-crafted elements beside reworked and casual garments. The design approach foregrounded contrasts between historical references and contemporary subcultural codes without privileging one over the other. The resulting SS27 presentation emphasized layered meanings through combined techniques and materials.

The stage design at the Musée Nissim de Camondo featured chairs and benches covered with black tiles that resembled disco balls, referencing a black Dior disco ball and introducing a reflective, club-like surface into the museum’s salons. These tiled seating elements were placed within restored and restoring interiors, creating a visual tension between ornate historical architecture and mirrored, nightlife-inflected materials. The choice of furnishings emphasized surface and light, bringing nightclub signifiers into rooms normally associated with quiet display and formal presentation. Together, the tiled seating and the museum setting established a deliberate visual counterpoint between archival space and contemporary club aesthetics.

The performance began around 9 a.m., a timing set to avoid a heatwave, and opened with the first model entering silently before interacting with a speaker to trigger sound. Fred again..’s original mix then filled the gardens and salons, with bass propagating through the rooms and altering the acoustic character of the building. That sonic event transformed the normally quiet museum into what was described as a morning rave, producing an encounter that merged fashion presentation, architectural context and club culture. The combined effect of reflective stage materials, early-morning timing and a bass-led soundtrack created a distinctive atmosphere in which historic interiors and contemporary rave elements coexisted.

Fred again.. collaborated with Dior to provide an original soundtrack for the men’s SS27 show at the Musée Nissim de Camondo, and the collaboration was central to the presentation. The performance incorporated an original mix and sourced contributions from artists including KTNA, Mabe Fratti, Jamie T, unreleased vocals from Christine and the Queens, Headie One, Jhené Aiko, KETTAMA, Latin Mafia and Young Thug. Stage design and timing used reflective tiled seating and an early-morning start to merge historic interiors with club and rave signifiers, producing a morning-rave atmosphere when the music filled the museum.

Jonathan Anderson described Fred again..’s method as sampling, remixing and rearranging existing materials and connected that method to the wardrobe’s juxtaposition of couture references, embroidery, worn denim, deconstructed tailoring and lamé. The collaboration combined music, staging and couture to create an encounter between fashion, architecture and electronic music culture.

Fred again.. created the original soundtrack for Dior men’s SS27 show in Paris, providing an original mix that served as the event’s musical backbone at the Musée Nissim de Camondo. Designer Jonathan Anderson framed the presentation as a deliberate juxtaposition of historical and contemporary elements, and he described Fred again..’s method as sampling, remixing and rearranging existing materials.

The staging, including chairs and benches covered with black tiles resembling disco balls, and the early-morning timing opened with a silent model and led into a bass-led soundscape that temporarily transformed the museum into a morning rave. The collaboration brought electronic-music practice into a couture setting and emphasized the intersection of sound, architecture and fashion.