Which is very good (I mean Dorico’s way). I remember precious rehearsal time wasted when some musicians in the orchestra had different double bars and repeats than others, or different from what was in the score. It is such a bad idea.
Also: playing from different editions, one counting the repeat as one bar, the other as two. Or different rehearsal marks… I’ve seen it all. I agree with Janus: bar numbers are just for reference. There’s nothing mystical about them (except, sometimes, in Bach). They are not part of the music, and should be as straightforward as possible.