Dior: Cruise 25 in the sign of abundance, perhaps even too much

Dior: Cruise 25 in the sign of abundance, perhaps even too much


It might seem a bold choice, but there is a bond between Christian Dior and Scotland. So strong that Maria Grazia Chiuri, director of the maison’s womenswear line, has chosen to present the Cruise 25 collection precisely at Drummond Castle, not far from Gleneagles Hotel, the place where Monsieur Dior organised in 1955 a fashion show to present his pieces to the high society on holiday there. Chiuri thus confirms her itinerant journey through the history of the brand and in support of women. But this formula could become repetitive.

Repetita iuvant

The starting point of the creative director is definitely the enhancement of the female figure. In fact, for the Cruise 25, Chiuri started from the story of Mary Stuart, Queen of Scots from 1542 to 1567 and previously Queen Consort of France, but more generally the reference is to all the symbols of the host country.

First of all, the sound of bagpipes, which opened and closed the fashion show, then the tartan pattern (the only fabric that, according to Dior, could resist fashion) made iconic by kilts, diamonds, unicorns and embroidery. Yes, because the new collection is the fruit of an amalgamation of elements inspired precisely by the royal style, contaminated by touches of the rural countryside.

Between esotericism and purity

It is a work that holds together esotericism and purity, strength and ancestral references. In terms of style, this time Chiuri chooses the line of extreme decorativism. You only have to look at each look to understand that the search for details (bordering on confusion) is at the heart of the new project. Contrasts, therefore, in materials (velvet, lace, wool or leather, in volumes), puffed sleeves and maxi skirts, long slipped dresses and metallic knit dresses, and in colours (on a scale ranging from red to white, passing through grey).

Why the formula is a risk

It is clear that the collection recalls some of the brand’s iconic pieces, such as the Bar racket revisited for the occasion. As is clear the punk touch Chiuri wanted to imprint, black leather boots up to the knee, studs, collars, a contemporary version of the typical armour, or embroideries with a gothic flavour.

What could be jammed, however, is the formula. Taking Dior around the world and adapting it to the aesthetic canons of the place is certainly noble (given the link between the brand and Scotland, anyway), but the stylistic exercise risks producing a hybrid style that is neither flesh nor fowl. With the consequence of a surplus of many different things. One thing is certain: this time Maria Grazia Chiuri has not chosen synthesis.

Photos from Dior’s Facebook account

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