Rules are everything until they’re nothing. Nowhere is this more evident than in the world of menswear, where adhering to sartorial codes is tantamount to law: A banker must wear this, a skater must wear that, and so on. Thank goodness for Kim Jones, who is building his vision for Dior Men with the notion that rules are meant to be broken. First, he separated himself from a decade of “Dior Homme” and its super-skinny silhouette with a new name, and a fresh, boxier cut. Now, half a season in, he’s taking his vision on the road, landing in Tokyo with a Pre-Fall extravaganza to rival the season’s blockbuster womenswear shows.

But more important than the name and the place is the why: Jones’s vision for Dior Men is a theory of everything. On the runway tonight were items for all kinds of guys, from the ones who want to wear a monogram silk shirt with cherry blossom accents to others who are looking for dapper houndstooth suits with posh, asymmetric blazers. A white astrakhan bomber that shaded into a toile de Jouy summed it up: something elegant as hell, yet grounded in utility, and designed with couture craftsmanship and know-how. All of this was brought together around a 39-and-a-half-foot statue of a silver robo-babe by the Japanese artist Hajime Sorayama.

What does this sexy fembot have to do with anything? To Jones, it’s his way of honoring Monsieur Dior’s legacy. Christian Dior was involved in the art world before he became a couturier, exhibiting Picassos in the late 1920s. Jones, for his part, has been obsessing over Sorayama’s work for decades. Dior was also in love with Japan and Japanese culture; the show’s two closing looks were based off of his own patterns for a Japanese client, rendered by Jones in buttery black leather. The couturier’s signature cannage design was redone for the runway on the back of a workwear-influenced harness, and elsewhere, the colors of his childhood home in Granville, France—pink (the house) and gray (the sky)—became the blush of the cherry blossoms and the silver of their backgrounds.

For proof of success of this decade-connecting modernism, look no further than the diversity of outfits in Jones’s front row. David Beckham was there in a posh suit, Ezra Miller in a pink cherry blossom top, Kate Moss in a loose blazer, A$AP Rocky in a sheer shirt and metallic trousers, and Bella Hadid in the show’s opening turtleneck with high-top monogram sneakers. The universal appeal of Jones’s vision is impressive. Men like it, women like it, and maybe even robots could like it, too. That’s a future that would be pretty bright, indeed.