Dior Spring Summer 2021 Haute Couture collection pays subtle homage to Monsieur Dior, who also believed in the signs of destiny. “Being superstitious, I rushed to touch the slightest piece of wood,” he confided in his autobiography. A mesmerizing passion, filled with a sense of magic and dreams.

Fascinated by Italo Calvino’s novel The Castle of Crossed Destinies, Maria Grazia Chiuri chose to design her collection using the wonderful Visconti-Sforza tarot cards for exceptional creations symbolizing the major arcana. A tale celebrating the magical beauty of the divinatory arts.

Tarot cards are among the keys to accessing the magical realm, to explore the unknown while fearlessly looking deep inside oneself. Maria Grazia Chiuri immediately felt a connection with these imaginary worlds and this visual language whose symbolic lexicon is rich in complex and fascinating characters. In uncertain times marked by a palpable desire to reconnect with the world’s soul, Maria Grazia Chiuri wished to explore, through the spring-summer 2021 haute couture collection, the mysterious and pluralistic beauty of the tarot in a series of dresses featuring virtuoso constructions; manifest proof that couture remains the ultimate territory of experimentation and possibility.

A series of extraordinary evening gowns features abstract constructions, some with veritable bas-relief openwork bodices punctuated with illustrations by Pietro Ruffo. In this spirit, the Roman artist created a singular deck of cards in which characters disclose the graphic energy of the symbols.

Dior gray appears in tweed, cashmere and organza on shirts, skirts, pants and capes. Meanwhile, the Bar jacket is revisited in black velvet, its curves reinterpreted to express a new attitude.

In his staging of these haute couture creations, Matteo Garrone, one of Italy’s most high-profile directors, builds on the narrative iconography by drawing on the visual force of the Visconti-Sforza tarot. Decorated by the illuminator Bonifacio Bembo for the Duke of Milan in the 15th century, this tarot deck illustrates the marvelous tale of this collection. Splendid cards embellished in gold, enamel, and vegetal and geometric interlacing have a solemn and enigmatic presence, revealing an inner journey, like an adventure of self-discovery. A voyage to the heart of a castle populated by characters embodying the major arcana who question and disorient, inviting the viewer to look at the world from a new perspective. In the director’s interpretation, this quest surpasses gender boundaries, presenting a synthesis of masculine and feminine in a new heraldic mythology evoking the enchanted worlds Matteo Garrone loves.

A clairvoyant asks to draw a card in a deck designed as a catalogue of possibilities, a cryptic dictionary of the world. The High Priestess, the Empress, Justice and the Fool, are notably sublimated through excellence of savoir-faire celebrating the art of weaving: lace is inlaid with hand-painted embellishments, golden velvet is enlivened with the signs of the zodiac and precious jacquards are sprinkled with stars, while a cape in multicolored feathers showcases 3D volumes.

In this story, the insider always needs the feminine complement and vice versa, because only such a fusion makes it possible to approach a formative path leading to self-awareness. As Italo Calvino points out in The Castle of Crossed Destinies: “The world has to be read upside-down”.

Source: DIOR.COM

Dior Spring Summer 2020

dior spring summer 2020

Dior kicked off Paris Fashion Week with Spring Summer 2020 women’s ready-to-wear collection by Maria Grazia Chiuri. It took place at the Longchamp Racecourse and celebrated nature and ecology. Chiuri opted to stage the runway in the middle of a secret woodland garden, with the models walking between the trees.

Dior notes that nature and gardens have long been a source of inspiration for its designs. It began with Christian Dior himself, who designed many an iconic floral dress, and this year’s show also paid homage to his sister Catherine who was an avid gardener.

‘It appeared essential to me that this legacy be addressed with a new perspective,’ Chuiri noted ahead of the SS20 show. ‘Flowers and plants don’t just serve an ornamental purpose, they are our environment. We have a commitment to care for them, today more than ever.’

The show guests included Jennifer Lawrence, Karlie Kloss, Jorja Smith and Erin O’Connor. The models walked down the runway sporting straw cloche hats – familiar territory for Dior, dating back to the 1960s, plus diaphanous, bohemian floral chiffon dresses.

Continuing the eco theme, the show also debuted separates embellished with nature-inspired motifs – like beadwork in the shape of thistles and skirts that resembled camouflage netting.

Dior said their show is also in keeping with its zero-waste policy and sustainability commitment, with the rest of the set being completely recyclable and plastic-free.

Chiuri expressed her wish to create an ‘inclusive garden’ and send a message of co-existence between fashion and nature, so collaborated with a company called Coloco which employs botanists, gardeners, landscape designers and urban planners. The 164 trees that featured in the show all come from different nurseries in France, Germany and Italy and will continue their journey after the show, joining sustainability projects around Paris. Each tree was tagged with a story of its origin and future destination.

Check out the entire lineup below.




On Monday night in Marrakesh, Maria Grazia Chiuri presented her 2020 Cruise collection – a multi-layered cultural dialogue with Africa. It was at the Palais de la Bahia, under a Majorelle blue arbor – a color forever linked to Marrakesh.

The  show paid fervent homage to the richness of traditional Moroccan cultures as well as to Dior’s heritage and savoir-faire. For Christian Dior, incorporating Morocco into his designs is a poetic, open and free geography that began with a chromatic homage. The pureness of white, that “usual colour of light” as Isaac Newton put it – to lessen the sun’s impact – predominates in the Maroc ensemble, a dress and coat in white tulle embroidered in silver, from 1951.

This collection is a world map connecting images and ambiances that, on this side of the Mediterranean, have shaped our visual culture. Its original inspiration – and veritable emblem – is Wax print fabric. The anthropologist Anne Grosfilley explores its complex origins and evolution. The incredible story of this fabric unfolds like a family tree, a journey that winds its way from Europe and Asia, extending into Africa. Wax print fabric celebrates and federates diversity; it is the fabric of a cultural melting pot. Maria Grazia Chiuri collaborated with the Uniwax factory and studio (in Ivory Coast) to reinterpret Dior codes by integrating them into the weave of the fabric for a special edition. Revisited in Wax, new toiles de Jouy come to life, recasting various landscapes or reinventing tarot motifs. The Bar suit, like all the other pieces, exalts the power of fashion as an inclusive, transnational language.

The Dior archives attest to this fascination, in Marc Bohan’s Jungle silhouette or a scarf printed with an African lion that gave life to a savannah bestiary. Landscapes that inspired authors such as Albert Camus, Paul Bowles, Alberto Moravia and Bernardo Bertolucci unfurl across warp prints, jacquards and fils coupés. At the crossroads of culture and emotion, Maria Grazia Chiuri underscores the power of Nature, an evocation punctuated with ecru silk, silk gauze, and shantung that, in shades of sand, indigo or burned red ocher, enhance coats and suits, pleated skirts and trousers.

Through its cultural dialogues, the Cruise collection offers a condensation of diverse realities and temporalities. Fashion itself is a unique fabric inspired by countless places and times that gives rise to a new vision. Through this magical act, Maria Grazia Chiuri projects a collective memory, a common territory that is open to every kind of possibility.

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Christian Dior Spring Summer 2019 Haute Couture

With the Dior Spring Summer 2019 Haute Couture show, Maria Grazia Chiuri offered one jaw-dropper after the next. As if the circus tent setting and the gravity-defying performances by Mimbre acrobats weren’t already enough, she took the circus theme and combined it with the best of the House’s savoir-faire, sending out short dresses and playsuits that burst to colorful life, tailoring trimmed with embroidered frogging, and vaporous evening gowns of the kind of which dreams are made.

The collection consists of a superposition of images: a woman’s tattooed skin, reminiscent of the Victorian circus and its fairground phenomena, becomes a motif-drenched unitard that shapes the body and tells a wearable story under dresses. Powdery shades that come together and blend into an infinite palette – like those on the curtain painted by Pablo Picasso for the ballet Parade – also symbolize this sense of the worn, of the fine dust that sprinkles stage clothes. Skirts embroidered or inlaid with opaque sequins are shortened as tutus that nod to the circus codes of acrobats, tamers and riders.

Maria Grazia Chiuri employs this broad variety of images to compose her own “parade”, comprising full and very light pants, narrowing at the ankle, which can also become sumptuous jumpsuits. Shorts are paired with sheer white shirts accented with ruffs or ribbons seemingly frayed with the passage of time. There are also leather corsets, sailor stripes, and black jackets inspired by that of the lion tamer. The geometric white clown outfit, whether spare or sumptuous, is reinterpreted through its materials, embroidery and proportions.

The show is animated with performances by the all-female circus company Mimbre, which, in a constant search for the poetic in the unexpected, highlights the trust and bond between the acrobats’ bodies.

The circus is presented as a place of inclusion in which the clown, through its androgynous and asexual dimension, becomes the expression of a possible equality and an evocation of modernity, one where beauty, origin, gender and age are no longer important, and only technique and daring matter. Check out #DiorDreamParade below.

First Look At DIOR ‘From Paris To The World’ Exhibition In Denver Art Museum


img_4200The first major retrospective of Dior in the U.S. has landed in Denver Art Museum. Running until March 3, 2019, the exhibition Dior: From Paris to the World celebrates more than 70 years of haute couture creations by evoking the global outlook and visionary spirit of Christian Dior and his successors, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri.
A selection of more than 200 couture dresses, as well as accessories, costume jewelry, photographs, drawings, runway videos, and other archival material, trace the history of the iconic haute couture fashion house, its founder, Christian Dior, and the subsequent artistic directors who carried Dior’s vision into the 21st century.
The exhibition breaks from the Paris display and is divided up by creative director, with rooms in between focusing on topics like the influence of gardens through the history of the brand and iconic gowns worn by celebrities and socialites.
Christian Dior, the art gallerist who became a celebrated couturier, generated a revolution in Paris and around the globe after World War II. Dior created haute couture expressing modern femininity, completely shedding the masculine silhouette that had been established during the war. He conceived sophisticated designs featuring soft shoulders, accentuated busts and nipped waists that marked the beginning of an epic movement in fashion history that would eventually lead to Dior successfully becoming the first worldwide couture house.
This exhibition is organized by the DAM and curated by Florence Müller, the DAM’s Avenir Foundation Curator of Textile Art and Fashion. It features exhibition design by internationally renowned architect Shohei Shigematsu, principal of OMA New York.


Dior Spring Summer 2019

With this new collection, Maria Grazia Chiuri begins a new chapter devoted to the arts and feminism. It is contemporary dance celebrated as a universal language and liberating act, an art of movement.

Greeting the guests, a monumental, immaculate structure standing in the heart of the racecourse displayed several quotes: “dance, dance, otherwise we are lost”“dance is the movement of the universe concentrated in an individual”“everything must come from the heart, must be lived”, “nothing is more revealing than movement, the body says what words cannot”, “I am not interested in how people move; I’m interested in what makes them move” and “the story comes from inside the body”. 


Dance is at this collection’s heart. Dance as a liberating act, an action of the body, a dimension that uses rhythm, movement and music to connect with the deepest part of our being. Dance and fashion define the body and, through discipline, teach us to own it.

Maria Grazia Chiuri, Creative Director of Dior women’s collections, drew inspiration from the works of a series of artists who shook up established codes in order to develop another idea of ​​the beauty of the body in motion in a new relationship with space, time and nature. These heroines of contemporary dance, Loïe Fuller, Isadora Duncan, Ruth Saint Denis, Martha Graham and Pina Bausch, revolutionized their discipline in order to reconnect it to the origins of the world, a Dionysian melange, the vital energy that powers each culture.

It’s not a question of bodily perfection, but of flexibility and strength of movement,” says Sharon Eyal, one of the most talented choreographers of our time, whom Maria Grazia Chiuri wished to associate with this show.
Christian Dior loved dance, as evidenced by the Dior archives, which contain documents illustrating his extraordinary collaboration with Roland Petit on the ballet Treize Danses, and photos of Margot Fonteyn, the dancer and House client.

The experience of dance, its most intimate truth, the fact that it is a means of universal expression, and the radicality of the gestures of contemporary dance have all stimulated my imagination,” says Maria Grazia Chiuri, who has created a collection that reveals its essence in lightness and extreme suppleness. Bodysuits, tanks and light jumpsuits form a choreography of clothing in an infinity of nude shades, a multitude of variations, corresponding to the body’s movements. They become the base and the complements to a series of pieces in the collection, such as full and airy skirts, as well as short or long tutus. They reveal volumes specific to traditional male dance costumes, reflecting a popular culture prized by Maria Grazia Chiuri. The dresses are as ethereal as a layer of tulle, while the corset has been replaced by a simple tank. As a visual allusion to hip-hop sounds, another inspiration for part of the collection, jeans serve to emphasize the relaxed silhouette.

It is dance, as a movement art and a performative act, which suggests the kaleidoscopic motif, appearing as drawings and an extravaganza of feathers, paying tribute to Loïe Fuller’s color-soaked cinematic effects. In turn, colors fade across the light surface of dresses and skirts worn under large coats and jackets that protect the bodies upon exiting the theater. Shoes, meanwhile, are incredible creations of braided ribbon from foot to ankle, resting on the transparency of a Plexiglas heel.

The choreography of the bodies, and the bond that unites them, echoing the movement of the stars in the celestial vault, evokes the energy of the universe from which dance draws its expressions.

Energy that lies simultaneously in the control and the liberation of the body.

Energy that is both rigorous discipline and extreme freedom.

The energy that produced this collection like a sophisticated and stylish piece of choreography, and a powerful explosion of the female imagination.

Natalie Portman Stars In Dior’s Rouge Dior Ultra Rouge Campaign


The House of Dior just unveiled Rouge Dior Ultra Rouge, its new long-lasting lipstick, as unforgettable as a kiss. This is the first incredibly long-wearing lipstick with the comfort of a lip ink: a true revolution in the history of lipstick. Ultra Rouge offers a lightweight, ultra-comfortable formula and all the color of a high-pigmentation lipstick. The colors seem more saturated with a luminous, semi-matte finish for incredible sensoriality and hydration. Natalie Portman stars in the ad campaign. The actress has been the face of Dior since 2010.



Born backstage and put to the test by Peter Philips, Creative and Image Director for Dior Makeup, Dior Backstage Airflash foundation is relaunching with new shades and a brand new professional routine complete with the Radiance Mist and the Buffing Brush. This best-selling spray foundation is guaranteed to perform under pressure and create a flawless complexion that’s always runway-ready.

Infused with light-diffusing pigments and Dior’s blend of oils, this featherweight fluid melts seamlessly onto the skin for a buildable, airbrushed effect that instantly boosts radiance. The texture is thin and fluid for an intense glow. Pigments adhere to the skin for color that stays true, while the weightless, water-resistant formula feels like a second skin and provides up to 12 hours of wear.

Fronted by Dior Makeup ambassador Bella Hadid, the full lineup is showcased in a video, sporting a wide range of makeup looks you can achieve with the products at hand. ”With Dior Backstage, I want everyone to have access to my expertise,” said Peter Phillips, adding that the items were created to reflect a real makeup artist’s survival kit.


Denver Art Museum Announced “Dior: From Paris to the World” Exhibition


Dior is getting its first major fashion retrospective in the U.S., and it’s opening this November in Denver Art Museum (DAM).

From Paris to the World, an exhibition surveying more than 70 years of the House of Dior’s enduring legacy and its global influence. A selection of 150 haute couture dresses, as well as accessories, photographs, original sketches, runway videos and other archival material, will trace the history of the iconic haute couture fashion house.


Dior: From Paris to the World also will profile its founder, Christian Dior, and subsequent artistic directors, including Yves-Saint Laurent (1958–1960), Marc Bohan (1961–1989), Gianfranco Ferré (1989–1996), John Galliano (1997–2011), Raf Simons (2012–2015) and Maria Grazia Chiuri (2016–present), who have carried Dior’s vision into the 21st century.

Dior Cruise 2019


“Each  of  the  women  presented  [in  this  volume]  is  one  and  multiple,  both  herself  and  many  others,  some  illustrious  and  some  less  well  known  to  us,  but  all  of  whom  resemble  her  in  some  way.”

Dior’s Artistic Director Maria Grazia Chiuri chose the noble setting of the Domaine de Chantilly for the Cruise 2019 collection. A prestigious symbol of the French art of living, the grandiose stables were built in the 18th Century by architect Jean Aubert. The choice of Chantilly marks a return to the house’s roots, as Christian Dior designed an evening dress inspired by the town of Chantilly for his second ever collection, for Fall/Winter 1947-1948.

The Cruise 2019 collection is inspired by the female riders, called escaramuzas, that compete in Mexico’s version of rodeo.

With their embellished sombreros and embroidered cotton dresses, which flare out into tiered skirts layered with petticoats, the riders cut dashing figures as they perform stunts at full gallop, all the while riding sidesaddle.

“The reason I like the escaramuzas is because they do something that is so macho — rodeo — in our vision, but they decided to do that in their traditional dresses which are so pretty, so feminine,” she said during a fitting at Dior’s ready-to-wear workshop in Paris.

The designs also hark back to Chantilly’s rich history of lacemaking. Chiuri used the delicate fabric, whether in graphic inlays or frothy ruffles, on full-skirted looks worn with chunky belts and her updated take on combat boots: a heavy-soled rubber and Neoprene lace-up design dubbed Diorcamp.

She gathered acres of tulle into featherlight petticoats, while sheer mesh skirts were delicately embroidered with lattice or Toile de Jouy motifs. The latter fabric, traditionally used for interiors, is something of a house signature, appearing in vintage creations such as a pair of shoes designed by Roger Vivier in 1956.

“Toile de Jouy is a very traditional Dior element. I decided to change the print. I put some animals to give it a twist, just a little bit ‘sauvage,’ less traditional,” said Chiuri. The pattern, featuring tigers and serpents, is woven through silk dresses or printed on more casual items like a trenchcoat or a denim shirt.

“You don’t necessarily have to buy a beautiful embroidered evening dress, you can also buy something more simple, like a pullover, with the same element,” she said. “You can find something that is really democratic, like denim, with a code that is really Dior, but that maintains this kind of couture culture.”

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