Latest news with #Dior
Forbes
9 hours ago
- Business
- Forbes
Maria Grazia Chiuri's Cruise 2026 For Dior Evokes A Ghostly Fantasy
Models in Dior "Les Fantomes du Cinema". Dior may have been founded by Frenchman Christian Dior in 1946, but when Roman-born Maria Grazia Chiuri took the reins in 2016, she became the first female to lead the house in 70 years, bringing a feminist slant, Italian art, and its culture to the Maison. While she wasn't always lauded for either of these aspects, the money she made during her tenure has tripled profits totaling $9 billion. This is undeniable. Under her reign, the Dioriviera line and the J'Adore Dior slingback sandals launched; both sold like hotcakes. In what may be her swan song for the brand (the brand has yet to release a formal statement), Chiuri looked to her roots in Rome and with a concept that gestured towards the artistic director's new passion project. The setting in the gardens of the Villa Albania Torloni, where the show took place, had a magical dreamscape mood, something referred to in show notes as "Bella confusion" (which reportedly was almost the name of Fellini's movie 8 ½.) Helping set the mood was the film "Les Fantomes du Cinema," which the designer created with filmmaker Matteo Gorrone. The film short involved models dressed in white with white wigs as exquisite apparitions, donning several different period costumes thanks to help from Tirelli Trappetti's costume shop as well as inspiration from Chiuri's deep dive into the Bal Blanc created by early 20th-century European and New York social doyenne with Mimì Pecci-Blunt. They pranced around the modern-day show prep, interacting amongst the scene unbeknownst to the live cast and crew. The set and film production was enchanting. Models in Dior "Les Fantomes du Cinema" show. The actual show, which introduced a combination of Haute Couture and Ready-to-Wear styles, takes cues from specific moments in cinema, theater, fashion, and art, a la Blunt's famous ball, complete with freedom implicit in wearing disguise. Metaphorically, in a historical sense, the collection aimed to bridge fashion and costume into contemporary styles. Men's vests, often with lapels, are styled with full skirts with tailcoats. Military jacket styles trimmed are trimmed in black. Some dresses recall chasubles, aka the outermost liturgical vestment worn by clery to celebrate the Eucharist. To break up the proliferation of white clothing, a pop of red and black velvet dresses appeared and paidhomage to the Fontana sisters, who dressed Anita Ekberg for the iconic film La Dolce Vita. The most refined design craft is a golden velvet dress. PARIS, FRANCE - SEPTEMBER 23: Maria Grazia Chiuri attends "Heroes For Imagine" hosted by Kamel ... More Mennour benefit auction and dinner on September 23, 2024 in Paris, France. (Photo by) Show notes describe the overall collection this way. "Like the dancers of a farandole, the show's elements exist together and separately. The creative vision revolves around white, which is expressed in many different materials, from the densest to the lightest. This is how Maria Grazia Chiuri reconstructs the characters, landscapes, stories, and mythology of her city, Rome, in her own unique way. A mindset that favors questioning, daydreaming, poetic intuition, and magical realism to define a new network of stellar affinities." Chiuri just reopened the newly restored Teatro della Cometa in Rome, which she purchased in 2022. From the glowing press she received in Italy's "Il Sole 24 Ore," it sounds like Chiuri will finally have the creative freedom to work on projects to her liking and not those trying to reach a corporate sales level quota. Ostensibly, she will pass her days in her hometown unless she takes on another design role. No matter the case, her essence will always inhabit another landmark like the comedy theatre or Villa Torloni, but this one will be in Paris 30 Avenue Montaigne. Here, her famtone will join those such as John Galliano, Gianfranco Ferre, Yves Saint Laurent, and of course, Mr. Dior himself.
Yahoo
10 hours ago
- Entertainment
- Yahoo
Rosamund Pike Does Boho With an Edge at Dior's Cruise Show in Rome
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." Rosamund Pike is a lover of dress codes and Dior white. The Gone Girl star was so dreamy in a collared crochet top and skirt set at the Dior Cruise 2026 show in Rome this Tuesday. Her semi-sheer crochet set featured detailed embroidery while the top showcased tiny white buttons down the front. Pike accessorized the look with a thick, silver metal chain waist belt, black floral lace boots that laced up, a white quilted leather bag, and a brownish-nude lip—all of which added a bit of an edge to the romantic core look. Friends of the brand, including Natalie Portman, Alexandra Daddario and Ashley Park—all dressed in intricately laced and knitted soft white and ivory looks from the Cruise collection—gathered inside the 18th-century complex for the show. 'For me, doing a project in Rome was obviously one of my desires, but also one of my fears,' creative director Maria Grazia Chiuri said in a preview ahead of the haunting yet blissfully bohemian show. 'Cinema has done a lot to promote the image of Rome. For me, it was important not only to show my personal Rome, but also Rome as it has appeared in the movies.' This is the first show Chiuri has presented in her hometown in 10 years since her time at Valentino. Chirui also implemented a dress code for the show with the women in white and the men in black, inspired by the 1930 'Bal Blanc' hosted by the Countess and Count Pecci-Blunt in Paris. The famous event was lensed by iconic photographer Man Ray. 'I love a dress code and I think it makes everybody feel special,' Pike told WWD at the show. There is a sense of belonging and togetherness, you are part of a production, I suppose. It's like being part of a theatrical company, you are required to play a part.' The Dior ambassador also loves an all-white look. Last spring, she attended the Brooklyn Artists Ball in a sugar-white jacket and dress set from Dior's 2024 Cruise collection. The Saltburn star posed for photos at the Brooklyn Museum in New York wearing the short wool jacket—which had a delicate rounded collar as well as abstract illustrations of butterflies embroidered in white string throughout. Meanwhile, the white silk taffeta dress was the essence of spring and featured earth-tone illustrations of colorful insects existing around a garden, such as caterpillars crawling on leaves and majestic butterflies flying about. You Might Also Like 4 Investment-Worthy Skincare Finds From Sephora The 17 Best Retinol Creams Worth Adding to Your Skin Care Routine
Elle
12 hours ago
- Entertainment
- Elle
Go Behind the Scenes With Eiza Gonzalez For the Dior Cruise 2026 Show
There are a million ways to spend a Tuesday evening, but attending a beautiful runway show at a historic villa in Rome is probably one of the best. In the midst of promoting her new film Fountain of Youth, Eiza Gonzalez jet-setted to Italy to attend the Dior cruise 2026 show. From start to finish, the event felt magical. 'I [am] a little fairy lost in Rome,' the actress tells ELLE. The presentation was held at the Villa Albani Torlonia and honored the legacy (and extravagant balls) of the countess Mimì Pecci-Blunt as well as the famed Italian movie and theater costumer Umberto Tirelli. The result was a perfectly cinematic experience capped off by a heartfelt standing ovation during Maria Grazia Chiuri's finale walk. And Gonzalez's look, a draped white gown, couldn't have been more on-theme. The actress wanted the ensemble to feel as ethereal and dreamy as her environment, from the statue-filled hotel to the villa's haunting gardens at night. The sweeping dress evoked classic Roman architecture and was complemented by a pair of classic Dior slingback heels and a My Dior mini bag, both in a subtle champagne color. For glam, Gonzalez kept the look cohesive, embracing warm pink tones, glowing skin, and bouncing curls. The actress was also in attendance with her Fountain of Youth co-star and longtime Dior ambassador Natalie Portman, who stepped out in an almost feather-like white sheer dress and pristine white riding coat.
New York Times
13 hours ago
- Entertainment
- New York Times
Farewell to the New Look. Or Ghosts of Dior Past
The fog drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the Dior cruise show began, lending what was already a somewhat surreal moment an extra-otherworldly air. All the female guests wore white, even Natalie Portman and Rosamund Pike; the men, black. As they entered the verdant inner courtyard of the private manse, with its collection of Greco-Roman antiquities, they walked past dancers posed like moving statuary. When the first models appeared, to the strains of a live orchestra, light rain began to fall. Along with the mist, it made the clothes, almost all ivory and often so light as to be practically transparent, seem ghostly (even for someone like me, watching through the computer screen): an ethereal stew of references in lace, silk and velvet — with the occasional tailcoat — to different periods in history and imagination. In a video call before the show, the designer, Maria Grazia Chiuri, said she had been after what she called 'beautiful confusion,' the phrase Ennio Flaiano originally suggested as a title for Fellini's '8½.' It was an apt description, not just of the collection itself, which seemed made for phantoms slipping from one era into the next, but also of the question mark surrounding her own situation. Ms. Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecittà to the director Pier Paolo Pasolini and Mimì Pecci-Blunt, an early 20th-century patroness of the arts who built a private theater Ms. Chuiri recently restored. But she also brought herself and her audience full circle, back to the place she began. To do so, she enlisted a host of collaborators: the Tirelli costume house, the director Matteo Garrone (who made a short film in honor of the collection), the artist Pietro Ruffo, the Dutch choreographers Imre and Marne van Opstal. If that sounds like a lot to cram into what was essentially a 20-minute fashion experience, it was on purpose. It is widely accepted in fashion that this was Ms. Chiuri's last show for Dior. That in a matter of days the house will announce she is leaving after nine years and will be replaced by Jonathan Anderson, who recently joined Dior as artistic director of men's wear. LVMH, which owns the house, has not addressed the rumors, and when asked directly, Ms. Chiuri simply said, 'Oh, I don't answer this question.' It's too bad. The lack of clarity about her future, combined with the actual fog, gave an ambiguous edge to what could have been a triumphant farewell. Instead it seemed like a vaguely elegiac swan song. Maybe they are hedging for legal reasons. Maybe Ms. Chiuri, who has the thick skin and stubbornness of many pioneers, didn't want it to be nostalgic or sentimental. But while the collection was lovely and she got a standing ovation, it could have been so much more. It could have been an exclamation point at the end of what will surely be seen as a meaningful era in the life span of a major brand. A celebration of the contribution of the first woman to run the house. Such a farewell is not unheard-of in fashion, even if designers now turn over so often and so brusquely that it seems rarer than not. Tom Ford ended his Gucci period with a shower of pink rose petals, a standing ovation and 'Nothing Compares 2 U.' Dries Van Noten went out on a silver foil runway with a giant disco ball to commemorate the moment. There's nothing wrong with designers being recognized for what they brought to a brand, even if, as in this case, the decision to part ways doesn't seem to be entirely mutual. Especially a designer like Ms. Chiuri, who both helped grow Dior to what is estimated to be close to $9 billion in revenue and expanded its identity more than anyone may have realized. She is quoted in the documentary 'Her Dior' — a study of Ms. Chiuri's work with female artists directed by Loïc Prigent and released in March (an early sign, perhaps, of legacy building) — saying she knew what she was doing. She did. She used her power and position, the financial might of her company, not just to assert a somewhat hackneyed feminism (who could forget the slogan tees or the weird playsuits under princess dresses?), but also to support a variety of female artists as well as a panoply of artisans. To insist on the radical idea that craft belonged on the same level as couture. And, perhaps most significantly of all, to break the stranglehold of the New Look. Indeed, in 'Her Dior,' Ms. Chiuri said she told the Dior executives when she was hired that the brand's most signature silhouette, with its cinching and constriction of the female figure, was not for her. To look back at her collections is to see her methodically dismantling it. She did so first by going through the motions of loosening the stays — figuring out how to preserve the shape without the restrictive underpinnings — and then by eschewing it entirely. Her strength as a designer wasn't in the giant productions that surrounded her collections but in the internal magic she worked with construction and material. It's why her work often seemed more enticing in previews, experienced up close, than on the runway, where it could look banal. It is worth noting that there was not a single bar jacket in the whole cruise show. Or a high heel. Instead it was strewed with Easter eggs that suggested a finale: references to Chiuri-isms past (to the short film she and Mr. Garrone made during Covid and to the dancers she had included in other shows); to a possible future (her work with the Roman theater); to the goodbye of her colleague, the former Dior men's wear designer Kim Jones, who resigned after his January show. (As in that show, some of Ms. Chiuri's models were wearing blindfolds.) Even the inclusion of 31 couture looks among the ready-to-wear seemed a last word of sorts. Couture is the next season on the women's wear schedule, and it would have been Ms. Chiuri's next collection, if there actually were one. For now there was just the cruise show's closing look: an extraordinary gown micro-beaded to resemble a trompe l'oeil heroic torso. Or a relic, perhaps, of a time gone by.
Elle
14 hours ago
- Entertainment
- Elle
See Dior's Ghostly Tribute to the Roman Theater
An extravagant patroness, a hallowed theater, and a mysterious evening of 'living pictures': these are the spirits that Maria Grazia Chiuri sought to recapture in the Dior cruise 2026 collection and its accompanying short film, Les Fantômes du Cinéma. To understand these ghostly revivals, we must travel back to the living. The collection was heavily inspired by the life and luxuries of countess Anna Laetitia Pecci, more commonly known as Mimì Pecci-Blunt, who was a dedicated couture client and a lifelong patron of the arts until her death in 1971. Across her salon in Paris and mansion in Rome, Pecci-Blunt often played host to artists including Salvador Dalí, writer Alberto Moravia, composer Henri Sauguet, and more. In 1958, the countess purchased and guided the Teatro della Cometa in Rome for a single glorious season. While the theater changed hands through the years before falling into obscurity, Dior took it over in 2020, leaving its restoration in Chiuri's hands. Five years later, on the precipice of the venue's reopening, Chiuri took to the Villa Reale di Marlia to reignite Pecci-Blunt's vision through a multifaceted runway presentation. Both the collection and film directly reference one of the countess's glamorous evenings in Paris in 1930—the Bal Blanc, where guests dressed in white, as if transforming into alabaster sculptures, doubling as the venue's 'living pictures' entertainment (as demonstrated by the runway's all-white ensembles and glimmering Roman-inspired trompe l'oeil). The result is a scene of exceedingly fragile beauty. In ushering these fashionable ghosts into the present, a feeling of temporality remains. For Chiuri, this is by design. The creative director worked closely with the Italian costume house Tirelli to replicate exact pieces from the costumer's archive using period-accurate preserved lace, as seen on the powdered-faced actors flitting through the film. As Chiuri explained on Instagram, one snag on a manicured rose bush and the character's crinoline-laden gown could crumble. On the runway, the models were visions in white, black, and beige, gliding down the pebbled pathway in billowing sheer skirts, tuxedo jackets, and minimalist column dresses. The collection felt not only like a tribute to Pecci-Blunt's and Tirelli's legacies, but also a nostalgic culmination of nearly a decade's worth of Chiuri's delicate designs. An interesting through-line between womenswear and Dior Men also showed up. Many of the models sported lace masks, another direct reference to the dress code for Bal Blanc that undoubtedly added to the allure and warranted a warm standing ovation. However, it's impossible to not call back to the striking satin masks in Kim Jones's final collection for the brand during the fall 2025 runway season. Ultimately, Chiuri remains a passionate patron of the arts, dedicated to crafting a sartorial narrative down to the finest details of femininity. Much like Pecci-Blunt's Bal Blanc guests and Tirelli's creations on the silver screen, Chiuri is deft at bringing a character's vision to life.
