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Dior Cruise 2025: Chiuri’s take on Scotland

The mystery, serenity, and beauty of its landscapes has been portrayed through the words of  writers and poets such as Sir Walter Scott. Its influence in fashion prevails through Tartan, a  cultural landmark of which Christian Dior said in his book The Little Dictionary of Fashion: “It is  probably the only fancy fabric that resists fashions”. We are talking about Scotland, the chosen  location for Christian Dior’s cruise fashion show 2025.  

The links between the mystic land and the Maison trace back to the early beginnings of the brand,  in 1947 when an ensemble named Écosse was presented. But it was in 1951 that Dior would held  his first show at the land. Later on, in 1955 a charity ball was organized at the Gleneagles Hotel in  Perthshire, Scotland, the epicenter of Scottish nobility in the 20th century. In this emblematic  location Monsieur Dior presented an exclusive collection as a part of activities that intended to  improve the Anglo-French relationship. For the occasion, the designer flew eight models, and 172  dresses which were insured for more than 62.000 pounds. 

“I had heard so much about its beauty that I had feared to be disappointed, on the contrary, I was  even more stuck by the beauty of the country, the castles, and the moors, than I had expected”  explained Christian Dior back in the day. This long-lasting impression that Scotland left on Dior  resulted in another fund-raising show in 1960 taking place at Scone Palace this time, which  became the designated place for the luncheon pre-show that Dior organised for the attendees of  this year’s cruise fashion show.  

The show was held at Drummond castle, and it has been filled with historical references to the  archives of the Maison. Chiuri continues with her international take on cruise shows, which she has  been presenting all around the world in locations such as Mexico City, Seville, Athens and Chantilly  among many others.  

As usual, the Italian designer has collaborated with many local artisans and crafts in order to tell a  story of fraternity between the French house and the local communities. Harris Tweed, Jonathon’s  and Elgin, Esk Cashmere, and Robert Mackie are some of the family companies that have helped  with the production of the materials. Maria Grazia Chiuri has also invited the young British designer  Samantha MCoach, founder of Le Kilt, a brand which provides an elevated and conceptual version  of the Kilt, to help with the design of this piece.  

Even though the kilt was born in Scotland, where it is the traditional costume and a symbol of  cultural identity, it has also been adapted by designers and subcultures all around the world, which 

Dior has shown with punk versions of it through the fashion show. This way Maria Grazia Chiuri  has elaborated a sort of historic timeline of the Kilt, his evolution and implications. 

Central to the show was the figure of Mary, Queen of Scots, a symbol of national history and  strength, showing the favoritism that the creative director of Dior guards for feminist icons. The  historicism of this character is elegantly showcased through reformulated silhouettes that clash  with the modernity added to the garments with corsets and modern textures. The historic line is  kept on accessories such as armor-like-boots or grunge chokers that seem to reference the  connection of the subcultures with the Scottish textile. The mermaid-like hair is subtly elevated  through meshes that cover the model’s faces.  

The voluminous sleeves in different shapes and textures perfectly match the environment of the  location and the delicacy of the hair adornments, while the colors showcased in the Tartans and  Kilts favor the colors of Scottish nature. The browns and yellows of the Scottish landscape diffuse  to introduce bright colors like the purple of the heather, azaleas, and rhododendrons, which  showcase the brightness that the Scottish nature can reach, resulting in a beautifully crafted  response from Dior to the landscape and people of Scotland.  

The location, the historical references that have been made and the constant revisitation of the  archive, together with the contribution of the French Maison to the prosperity of the local  community proves the French powerhouse as a perfect window display for new emerging  designers, rather than just a brand that overpowers the location by taking advantage of its beauty.  

This way, Dior is redefining the concept of cruise shows, filling them with refreshing creative  freedom that allows the creative director to exemplify her talent while inspecting local communities  around the world, providing, therefore, a local yet global concept of the brand, that permits citizens  from all around the world to relate to the brand.

Words: @edugilhurta