Four parades that defined the creative era of Maria Grazia Chiuri in Dior

After nine years as a creative director of women's clothing at French Fashion House Dior, Maria Grazia Chiuri officially announced her departure on May 29. The news comes just after His spectacular cruise show in his hometown of Rome, staged in the opulent environment of Villa Albani Torlonia. A sincere tribute to his city and an elegant way to take a final bond, the show marked an appropriate ending for his mandate. Throughout his time on the Parisian label, Chiuri became known for his apologies feminist message and his dedication to celebrate the art of crafts. Here, we looked back in four parades that defined their years in Dior.

Spring-summer 2018 Couture

Surrealism has long been a source of inspiration for fashion houses and designers, attracted by the aesthetics of the limits of the movement and its iconic artists: the Ray man, Dalí, Miró, Magritte, tan, who raided the way for the expressive and liberating creative landscape of today. For this collection, Chiuri found inspiration in the work of the painter and surreal writer Leonor Fini.

Black and golden rectangular masks that only reveal their eyes remember the distinctive motifs of Salvador Dalí. Domino prints rotates and distorted through pictures while the feathers explode from the waist. The dresses are shaped like sand watches or birds: dresses-surrounding with visible white frames evoke iconic René Magritte cages. Chiuri explored movement and perception with pure layers and a monochromatic palette. Black feather butterflies in layers on white counterparts create a dramatic contrast in a black dress.

Autumn-winter 2019

Maria Grazia Chiuri paid tribute to the 1950s highlighting the Teddy girls, a subculture of young British women influenced by rock 'N' Roll. Resigned by their male counterparts that were often fired as youthful criminals, teddy girls were among the first to embody an independent cultural identity in postwar England. Having grown during rationing and austerity in times of war, their bold fashion options: mix aristocratic garments with avant -garde hairstyles and accessories inspired by rock'n'rololl, separate them.

The Italian designer created 89 looks, with jackets and coats structured with large necklaces, vinyl cube hats covered in black veils and tulle skirts and tartan of different lengths. The tight belts and the pearl chokers added contrast. Many dresses without straps echoed the silhouettes inspired by dandys weed by the stuffed girls, stripped of traditional refinement. Chiuri once again used the shirt as a platform for his feminist voice, this time printed with: “The brotherhood is global.”

Autumn-winter 2022

After exploring the British fashion of the 1950s, Chiuri resorted to the same French -style heritage of the same decade. The 1950-59 were formative for Dior, marking the rise of the brand after its foundation. Naturally, Chiuri reinterpreted the iconic “new appearance” of the label introduced following World War II. The iconic bar jacket, typically tight at the waist and baggy in the hips, combined with fluid black skirts. The collapsed neck dresses and transparent floral lace blouses were contrasted with high -tech motorcycle equipment in electric blue, yellow, orange and green. Airbags were used in the chest, extended gloves on the elbows and a protective armor wrapped around the shoulders and torso.

Chiuri paid tribute to the icons of French elegance, in particular the singer Édith Piaf, whose voice played during the show and whose spirit was embodied with dresses of dark black velvet. A wink to Christian Dior himself appeared in green raspberry and ruibarbo floral prints. Juliette Gréco's androgynous style also inspired the show, with long skirts, turtle neck on Tweed and Kashmir, and large jackets walking along the track.

Autumn-winter 2025

Maria Grazia Chiuri collaborated with the visionary US director Robert Wilson for her final show. The collection was inspired by the novel by Virginia Woolf “Orlando”, a love letter to his muse Vita Sackville-West, whose life inspired the protagonist of the story that challenges the genre. Divided into five dream acts, the show was developed in the almost total darkness. The surreal elements came alive on stage: a pterodactyl flew on the track, the glaciers left the floor and the fireballs opened the show.

In a wink to the fluid journey of Orlando through time and gender, Chiuri mixed female silhouettes (corsets), male tailoring (structured blazers) and androgynous pieces (skirts and pants). Reflecting the time narrative covered by the novel, the garments presented historical references of multiple times. Coats inspired by the nineteenth century were reinvented in innovative fabrics, while rich baroque details appeared along with modern touches. The armed skin swayed next to black leather and stamped tops, while the lace, the flyers, the embroidery and the acampanated fists added to the theatricality. In some looks, Chiuri even wove quotes from Virginia Woolf, a final creative offer to Dior's house.