In Rome, Maria Grazia Chiuri's final bow
She punctuated her 2026 cruise collection with 31 haute couture looks, out of a total of 80 outfits. In doing so, she combined luxury ready-to-wear – marketed as "affordable" and expected to sell like hotcakes worldwide – with the most demanding and elitist craftsmanship that fashion has to offer. In another context, that might have been considered sacrilege. But on the evening of May 27, in the gardens of the Villa Albani Torlonia, Maria Grazia Chiuri was simply bidding farewell (made official two days later) to Dior, where she had overseen the women's collections for nine years, producing eight collections each year. After months of persistent rumors about her departure, and as the fashion industry has experienced an unprecedented shuffle among major luxury houses this past year, this singular runway show, exceptional in more ways than one, became the final piece in a long series of clues.
When Dior announced on November 26, 2024, that its next cruise collection would be unveiled in Rome, the urban legend – "The day she leaves, Maria Grazia will show in her hometown" – made a vigorous comeback. On January 31, Dior Men announced the departure of its creative director, Kim Jones, leaving the position vacant. In February, at the start of Paris Fashion Week for womenswear, the Dior show, conceived in collaboration with stage director Bob Wilson, left guests with a strange impression: The scenes, tinged with an end-of-the-world mood, had a retrospective quality, blending the house's iconic moments and evoking a dialogue between the past (with nods to Dior under Gianfranco Ferré and John Galliano) and the present – seeming to turn a page and make way for a new chapter.
Many observers saw this as "Maria Grazia's last ready-to-wear collection." The same strange feeling was felt in Kyoto during the Pre-Fall show on April 15, likely due to the announcement, a month earlier, of Jonathan Anderson's departure from Loewe (LVMH), with "those in the know" already sensing he was headed to Dior. That intuition was confirmed on April 17, two days after Kyoto, by a press release announcing his appointment as artistic director of Dior's menswear collections.
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LeMonde
21 hours ago
- LeMonde
In Rome, Maria Grazia Chiuri's final bow
She punctuated her 2026 cruise collection with 31 haute couture looks, out of a total of 80 outfits. In doing so, she combined luxury ready-to-wear – marketed as "affordable" and expected to sell like hotcakes worldwide – with the most demanding and elitist craftsmanship that fashion has to offer. In another context, that might have been considered sacrilege. But on the evening of May 27, in the gardens of the Villa Albani Torlonia, Maria Grazia Chiuri was simply bidding farewell (made official two days later) to Dior, where she had overseen the women's collections for nine years, producing eight collections each year. After months of persistent rumors about her departure, and as the fashion industry has experienced an unprecedented shuffle among major luxury houses this past year, this singular runway show, exceptional in more ways than one, became the final piece in a long series of clues. When Dior announced on November 26, 2024, that its next cruise collection would be unveiled in Rome, the urban legend – "The day she leaves, Maria Grazia will show in her hometown" – made a vigorous comeback. On January 31, Dior Men announced the departure of its creative director, Kim Jones, leaving the position vacant. In February, at the start of Paris Fashion Week for womenswear, the Dior show, conceived in collaboration with stage director Bob Wilson, left guests with a strange impression: The scenes, tinged with an end-of-the-world mood, had a retrospective quality, blending the house's iconic moments and evoking a dialogue between the past (with nods to Dior under Gianfranco Ferré and John Galliano) and the present – seeming to turn a page and make way for a new chapter. Many observers saw this as "Maria Grazia's last ready-to-wear collection." The same strange feeling was felt in Kyoto during the Pre-Fall show on April 15, likely due to the announcement, a month earlier, of Jonathan Anderson's departure from Loewe (LVMH), with "those in the know" already sensing he was headed to Dior. That intuition was confirmed on April 17, two days after Kyoto, by a press release announcing his appointment as artistic director of Dior's menswear collections.
Le Figaro
4 days ago
- Le Figaro
Inside Dior's Bold Move: CEO Delphine Arnault Reveals Why Jonathan Anderson Was Chosen as Artistic Director – Exclusive Interview with Le Figaro
Réservé aux abonnés In an exclusive interview with Le Figaro, Dior CEO Delphine Arnault confirms that the talented Northern Irish designer will be joining the fashion house as creative director. She reveals the details behind this bold appointment, which is in line with parent company LVMH's other major creative choices. Jonathan Anderson's long-awaited appointment at Dior finally became official on Monday. As we wait to discover his first men's show on June 27, during Paris Fashion Week, his women's collection in October and his haute couture debut in January 2026, Dior CEO Delphine Arnault gives us a behind-the-scenes look at this crucial decision for the Avenue Montaigne house — a decision inevitably shared with her father, Bernard Arnault, whose special attachment to the company, as head of LVMH, is well known. In this exclusive interview, the Parisian CEO talks about her vision and ambition for Dior, her childhood memories of fashion and her sincere interest in designers. LE FIGARO . — You've decided to create a new chapter for Dior, which has resulted in several powerful resolutions. At the end of January, Kim Jones stepped down as artistic director of men's collections; last Thursday, the house announced the departure of Maria Grazia Chiuri, artistic director of women's collections since 2016. Today…
Euronews
6 days ago
- Euronews
What will Jonathan Anderson bring to Dior as new creative director?
The world of football makes regular headlines for huge money-spinning transfers as fans eagerly anticipate what wonders players will bring to their team. This week has seen one of the biggest moves in the fashion business with the iconic French maison Dior now hoping Jonathan Anderson will liberally sprinkle his magic dust about its men's and women's collections to boost its fortunes. For almost a decade, the Northern Irish designer led the LVMH-owned Spanish fashion house Loewe – an unmitigated success story, increasing the brand's annual revenues fivefold. Now, he steps into a historic role at Dior, becoming the first person since Christian Dior himself to serve as its sole creative director. It's a major moment for the 40-year-old designer, whose journey began far from the runways of Paris. Born in Magherafelt, a small town in Northern Ireland, Anderson left home at 18 to pursue acting in the US. He later changed course and returned to Europe. Drawing on his childhood passion for theatre and costume, he decided to study at the London College of Fashion, where he graduated. Last year, Anderson was named one of the 100 most influential people by Time magazine, praising 'his innate understanding of how fashion and human behavior intertwine' and how 'his work is always ahead of the curve'. His sense of cultural timing has been noticeable throughout the years. Think back to February 2020, just before the world shut down, Harry Styles was rehearsing for the Today show in a colourful, patchwork JW Anderson cardigan. The knitted sweater quickly went viral on TikTok, where users began crocheting their own versions – unaware of just how much time lockdown would soon give them to perfect their craft skills. Another example is Rihanna's headline-making pregnancy reveal at the 2023 Super Bowl halftime show, where she wore a striking all-red jumpsuit and breastplate designed by Anderson. The bold look subtly confirmed her second pregnancy to millions watching worldwide, creating a viral craze. Or when Anderson decided to make then 87-year-old Dame Maggie Smith the face of Loewe campaign, showing that fashion doesn't have an age. In aVogue Business interview Dior CEO Delphine Arnault called him 'the most talented designer of his generation.' Praising his experience at Loewe and leadership within the group, Arnault added, 'He has great experience managing large teams, even though he is only 40. More importantly, he has a very clear vision for the brand.' Anderson steps into the role following former creative director for women's collections, Maria Grazia Chiuri. The Italian designer Grazia Chiuri was also celebrated by Arnault for her 'tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior, which allowed her to design highly desirable collections.' Arnault said, 'She has written a key chapter in the history of Christian Dior, greatly contributing to its remarkable growth and being the first woman to lead the creation of women's collections.' Anderson is competitive by nature – something he may have inherited from his father, Willie Anderson, a former Ireland international rugby player. Anderson sees clear parallels between sports and fashion, once telling The Independent: 'Sportspeople are extremely competitive – to win. And in fashion, when you see someone do something brilliant, it drives you to do something better… to keep outdoing yourself". His parents have always been supportive. In an interview with The Irish News, they said, 'They believed in a kid who had monumental talent, and we were the same. We saw something in Jonathan. And then we went about ensuring in his early days that we could help him fulfil his dream. You'll do anything for your kid if you believe their dream is not something that's beyond them.' His father Willie even admitted that he and Anderson's mother Heather 're-mortgaged the house to try and get him through certain points.' In 2008, he launched his eponymous label, JW Anderson, in which LVMH acquired a minority stake in 2013. In 2015, JW Anderson made history at the British Fashion Council's Fashion Awards by becoming the first house to win both Menswear and Womenswear Brand of the Year in the same year. The brand is known for blurring the line between men's and womenswear, often labeled androgynous or gender-bending, though Anderson himself prefers the term "unisex". Thankfully for his parents and their home, Anderson has more than delivered. Due to conservation protection, shooting films at the Auschwitz site is not possible. In order to meet the needs of filmmakers, the Auschwitz Museum has made a digital replica, which was created "out of the growing interest of directors in the history of the German camp," explains Bartosz Bartyzel, a spokesman for the museum, in an interview with Euronews Culture. Euronews Culture: Where did the idea to create a digital replica of Auschwitz come from? Bartosz Bartyzel: The Auschwitz Museum has been working with filmmakers for many years - both documentary filmmakers and feature film directors. However, due to the conservation protection of the authentic Memorial Site, it is not possible to shoot feature films at the site. The idea to create a digital replica was born out of the need to respond to the growing interest in the history of the Auschwitz German camp in cinema and the daily experience of dealing with the film industry. This tool offers an opportunity to develop this cooperation in a new, responsible and ethical formula. Why is a replica necessary? B.B.: The regulations in force at the Memorial preclude the possibility of shooting feature films on the authentic and protected site of the former camp. However, filmmakers - especially those who want to reach for more narrative forms - need a space that allows them to tell the story faithfully. With a digital replica, they can do this without compromising the integrity of the historic site. Were filmmakers consulted with before the implementation? B.B.: In fact, it was the day-to-day collaboration with filmmakers and the production needs and challenges they reported that inspired the project. The idea was not detached from reality - on the contrary, it was born out of specific conversations, experiences and questions that had been coming from the creative community for years. Who was involved in the creative process? How long did it last? B.B.: The Picture from Auschwitz project is a joint initiative of the Auschwitz Museum, the Auschwitz-Birkenau Foundation and a team of technology specialists led by Maciej Żemojcin. The very concept crystallised over several months in the course of joint work and discussions. The technical team used the most advanced spatial scanning technologies to create a digital replica of the Auschwitz I camp. At the moment, the Foundation is making efforts to raise the funds needed to continue the project - to create a digital replica of the grounds of Auschwitz II-Birkenau, as well as the interiors of some of the buildings. What reactions did you receive after the announcement of the creation of the replica? B.B.: The reactions were definitely positive - both from the film community, which sees this as a viable and professional working tool, and from the general public, for whom this is an opportunity to learn about history in a deeper and more authentic way through the medium of film. The project has also been recognised in international debate, including at the Marché du Film in Cannes. Are there already willing filmmakers who will benefit from the replica? B.B.: We have already started discussions with the first filmmakers who have expressed an interest in collaborating using the digital replica. The details of these projects remain at the agreement stage for the time being, but we hope to be able to provide more information on the first productions soon. How has this project been funded and what will it take to sustain it? B.B.: The creation of the replica is financed by the Auschwitz-Birkenau Foundation from earmarked donations made by private donors. The Foundation is seeking funds to continue the project. Its assumption is that ultimately the maintenance and development of the programme will be financed through licence fees paid by film producers who will use the materials within the Virtual Film Location. This way, the project will become a self-financing tool, simultaneously supporting the educational and commemorative mission of the Memorials. What difficulties have arisen in implementing the project? B.B.: Such large and innovative projects always face difficulties. One of the biggest was, of course, obtaining adequate funding to start and develop the project. A key challenge was also the need to reconcile high-tech solutions with the very special status of the space we were mapping. Although we are working in a digital environment, we must not forget that every step we take concerns an authentic Memorial, which is subject to unique protection. This must be a priority thought in every action.
