Latest news with #MariaGraziaChiuri
Yahoo
17-07-2025
- Entertainment
- Yahoo
Rachel Zegler Embraces Romance in Dior Gown for ‘Evita' Press Night in London
Rachel Zegler styled a design courtesy of Christian Dior's spring 2025 couture collection for the press night after party for 'Evita' in London on Tuesday. The 'Snow White' actress currently stars in the West End rendition of the Tony Award-winning musical by Andrew Lloyd Webber. Zegler's romantic dress featured sheer fabric and exposed boning throughout, along with intricate beadwork all over the frock. With a romantic aesthetic, Zegler's dress also featured a playful use of proportions, including a voluminous skirt that juxtaposed the fitted bodice of the dress from the French luxury fashion house. More from WWD Queen Letizia of Spain Embraces Statement Smocking in Adolfo Domínguez Dress for Royal Engagement Cate Blanchett Revives Prince of Wales Check Print in Armani for 2025 Wimbledon Day Two Jessica Alba Coordinates Summertime Florals With Daughter Honor Warren in Poupette St. Barth Dress at 2025 Wimbledon Zegler paired the look with pointed-toe heels by Malone Souliers and accessorized her attire with jewelry pieces from David Morris and Ananya. The actress and singer's hair was styled by Dayaruci, with makeup by artist Valeria Ferreira. Zegler's look was curated by stylist Sarah Slutsky Tooley, who also works with McKenna Grace and Renée Elise Goldsberry, among others. Zegler's 'Evita' after party look made its runway debut during Paris Couture Week last January. Curated by Maria Grazia Chiuri, who announced in May that she was stepping down from her role as the women's artistic director, the collection 'was a festival of diaphanous corsets, crinolines and fitted tailcoats,' Joelle Diderich wrote in WWD's review of the collection. 'Wraparound panels embroidered with the botanical drawings of Indian artist Rithika Merchant were echoed in hoop skirts dripping with tendrils of lace and embroidered flowers, although these distracted somewhat from the core idea of the show, which was a playful exploration of silhouettes and proportions,' Diderich wrote. Zegler has a close relationship with the French luxury fashion house. In December 2023, Dior appointed the actress and singer as a brand ambassador. Along with wearing designs from Dior's women's collections, Zegler also works in tandem with Peter Philips, creative and image director of Dior Makeup. Christian Dior Spring 2025 Couture View Gallery Launch Gallery: Christian Dior Spring 2025 Couture Best of WWD A Look Back at Fourth of July Celebrations at the White House Princess Diana's Birthday Looks Through the Years: Her Sleek Black Jacques Azagury Dress, Vibrant Colors and More Lauren Sánchez's Fashion Evolution Through the Years: From Her Days as TV News Anchor to Today Solve the daily Crossword
Emirates Woman
14-07-2025
- Entertainment
- Emirates Woman
From Ateliers to Artisans: How luxury brands reinterpret heritage craftsmanship
The intersection of traditional craftsmanship and contemporary luxury fashion has long been a source of creative inspiration for high-end designers. By reimagining heritage techniques through a modern lens, luxury houses not only introduce global audiences to centuries-old artisanal traditions but also ensure their continued relevance in an ever-evolving industry. From intricate Indian embroidery to bold African wax prints, these reinterpretations demonstrate how fashion serves as a bridge between cultures and eras. View this post on Instagram A post shared by Dior Official (@dior) Dior's Ode to South Indian Textiles One of the most striking examples in recent years was Dior's 2023 Mumbai showcase, where Creative Director Maria Grazia Chiuri incorporated Madras checks—a lightweight, handwoven fabric originating from South India—into the brand's signature silhouettes. The collection juxtaposed structured French tailoring with the vibrant, irregular patterns of Madras, creating a dialogue between European haute couture and Indian textile heritage. Presented against the iconic Gateway of India, the show was a celebration of cross-cultural craftsmanship. While the designs were unmistakably Dior, the influence of traditional Indian weaving was undeniable, proving how heritage techniques can elevate modern luxury. Prada's Reinvention of Kohlapuri Craftsmanship View this post on Instagram A post shared by Prada (@prada) Similarly, Prada's Men's 2026 Spring Summer show in Milan collection featured sleek, minimalist slippers inspired by Kohlapuris—a style of hand-stitched leather mojris originating from Maharashtra. The Italian luxury house reworked the traditional design, replacing raw leather with polished finishes and streamlined shapes while retaining the essence of the original craft. The result was a sophisticated hybrid of regional Indian footwear and Prada's contemporary aesthetic. This approach not only introduced Kohlapuri craftsmanship to a global audience but also demonstrated how traditional forms can be adapted for modern luxury. The house, after public commentary, credited the silhouette to India's archival heritage. Louis Vuitton's Fusion of African Wax Prints and Tailoring Beyond Indian influences, Louis Vuitton's 2023 collaboration with designer Grace Wales Bonner showcased the versatility of West African wax prints in high fashion. The collection merged the bold, geometric patterns of African textiles with precise European tailoring, creating a striking contrast that resonated on international runways. By incorporating these prints into structured suits and accessories, the collaboration highlighted the dynamic potential of traditional fabrics in contemporary design. In this collection, she also wanted to pay homage to black icons who found creative freedom in Paris, such as the writer James Baldwin and dancer, singer and actor Josephine Baker. Giambattista Valli's Moroccan Reverie For his Spring 2025 haute couture collection, Giambattista Valli delivered a masterclass in escapism—one that wove together his signature romantic extravagance with subtle nods to his Moroccan heritage. Known for his unapologetically voluminous silhouettes and dreamlike aesthetic, Valli this time anchored his fantasy in personal history, offering a collection that felt both intimately rooted and expansively imaginative. But beyond its visual splendor, the collection carried whispers of North African influence—not in overt motifs, but in its celebration of texture, color, and grandeur. Chanel's Tribute to Scottish Tartan Chanel's Métiers d'Art 2013 collection, showcased in Edinburgh, paid homage to Scottish traditions through the use of tartan, tweed, and Celtic embroidery. Karl Lagerfeld's designs seamlessly integrated these regional elements into Chanel's timeless elegance, proving that heritage craftsmanship can transcend cultural boundaries. The collection not only honored Scottish textile history but also reinforced the brand's commitment to artisanal excellence. These examples illustrate how luxury brands serve as custodians of global craftsmanship, preserving traditional techniques while reinventing them for contemporary audiences. Whether through fabric, embroidery, or silhouette, the reinterpretation of heritage artistry ensures its survival in a rapidly changing industry. By acknowledging and elevating these traditions, fashion houses not only enrich their own creative vocabulary but also foster a deeper appreciation for the artisans behind the craft. – For more on luxury lifestyle, news, fashion and beauty follow Emirates Woman on Facebook and Instagram Images: Supplied & Feature Image: Supplied
Vogue
11-07-2025
- Entertainment
- Vogue
Can Couture Be Modern? A Look at the Fall 2025 Season
Eighty years ago, in a groundbreaking exhibition, the curators at MoMA asked, 'Are Clothes Modern?' Reviewing the recent collections on Vogue Runway prompted another question: 'Is Couture Modern?' Based on what came down the runways in Paris this week, the answer is rarely, but it can be. This shouldn't be surprising—even in our fast-paced digital world, nostalgia is rife and society is trending conservative. Couture is an anachronism in 2025 precisely because it takes slow fashion to the furthest limits. Given that the métier is so associated with extremes—of cost, of craft, of fantasy—it produces a magnified view on ideals of femininity. Presented back in May, Maria Grazia Chiuri's final couture looks for Dior were balanced, with straight-lined silhouettes that alternatively conveyed strength and romanticism. This past week, women were either made from 'sugar and spice and everything nice' or they were cosplaying a horror movie. Then there were the moodboard characters come to life: Kim Kardashian channeling Elizabeth Taylor in Cat on A Hot Tin Roof or BUtterfield 8 at Balenciaga; models resembling Marie Antoinette at Elie Saab, or Nancy Cunard, arms stacked with bangles, at Schiaparelli. And how to explain the profusion of female characteristics, particularly breasts and hips, built up with padding on thin model bodies—Ozempic with benefits? Many of the silhouettes that appeared on the runways were as dramatic as the 'upholstered' figures on view at the Charles Frederick Worth retrospective at the Petit Palais. How today's couturiers achieved these padded effects has changed radically since Worth's time, of course, and it does seem that at least a few of them have something to say about the body modification that is possible in 2025 through medicine and technology. Viktor & Rolf, for example, showed pairs of dresses, one as-is and the other inflated with stuffing, in a sort of sartorial equivalent of adding fillers to skin. Similar contradictions were at play at Balenciaga where archetypal haute bourgeois types rubbed shoulders with body builders. Tailoring based on the extraordinary physiques of the latter looked deflated when worn on less beefy male figures. This was Demna's final collection for Balenciaga, where he is credited with elevating street elements to the hautest of métiers. Nowadays, the trends at couture mirror what's happening in the ready-to-wear collections, as well as on the menswear runways. Giorgio Armani's smokings for women looked smart and modern. There's that word again: modern. Iris van Herpen's living algae dress, which glowed with bioluminescence, is as forward-thinking as it gets.
Yahoo
01-07-2025
- Entertainment
- Yahoo
Dior Goes Through the Looking Glass With Surreal Fall 2025 Campaign
THROUGH THE LOOKING GLASS: Who better to shoot a campaign inspired by Virginia Woolf's 'Orlando' than Tim Walker, known for elaborate narratives with a Surrealist twist? Dior tapped the British photographer to lens its fall campaign at Hatfield House in England, which provided a majestic backdrop for Maria Grazia Chiuri's time-traveling collection. More from WWD Attending the Dior Men Show With Sam Nivola Sabrina Carpenter Goes Classic in Pleated Skirt and Satin Peep-toe Louboutin Pumps Dior Homme's Spring 2026 Show Jonathan Anderson's Dior Debut Draws Daniel Craig, Robert Pattinson, TXT and Rihanna She was inspired by Woolf's story about a Renaissance poet who lives for centuries and changes sex from man to woman. 'It's really to reflect how much fashion helps you to perform,' explained the designer, who stepped down as artistic director of women's collections in May after nine years at the helm. Models Laura Savy, Huijia Chen, Peris Adolwi, Ebba Bostrom and Achol Kuir are captured in wide-angle images posing in front of the country house's topiary hedges, or indoors in a turquoise blue box with a checkerboard-patterned floor. The sets were designed by Walker's regular collaborator, Shona Heath. 'The protagonist's free, shifting identity is embodied by the models passing through symbolic portals between past and future, reality and imagination,' Dior said in a statement. Corsets and crinolines were rendered in modular constructions and lightweight materials, but Chiuri's clearest influences were two of her predecessors at Dior: Gianfranco Ferré and John Galliano. She echoed Ferré's signature white shirts and use of brocades and crinolines. From Galliano, she borrowed vintage-style J'Adore slogan T-shirts that were trimmed with lace or layered under a velvet doublet. Margot Populaire art directed the campaign. It was styled by Elin Svahn, with Sam Bryant in charge of makeup and Malcolm Edwards doing hair. Best of WWD Longtime Vogue Editor Grace Mirabella Dies at 91 First Lady Dr. Jill Biden Helps Forbes Celebrate Its 50 Over 50 List Mikaela Shiffrin Gets Personal in New Series for Outside+
Vogue
23-06-2025
- Entertainment
- Vogue
Dior Men 101: A Timeline From 'Christian Dior Monsieur' to Hedi Slimane's 'Dior Homme' to Jonathan Anderson's Takeover
Christian Dior's debut collection for spring 1947, presented on February 12 of that year in the salons of 30 Avenue Montaigne, prompted the following from famed editor Carmel Snow: 'My dear Christian, your dresses have such a New Look!' The rest, as we now know, is history. The novel ensemble in question featured a wide A-line skirt and a 'Bar jacket,' which was characterized by a nipped waist, padded and rounded hips, and rounded shoulders. It's a singular, identifiable perspective on elegance and a defining moment in sartorial history. Close to eight decades later, the 'New Look' continues to mark a before and after in fashion as the true signature of the house of Dior—Raf Simons had his own version, Maria Grazia Chiuri examined it in depth during her tenure, and even Kim Jones, who designed the house's menswear collections from 2018 to earlier this year, riffed on it himself. Jonathan Anderson will surely give it his own spin at some point. Such is the power of a brand icon. Yet while Monsieur Dior's womenswear has left an indelible mark on fashion, the house's menswear has had less of a defining profile. For starters, it's changed its name almost as many times as it's had designers: From Christian Dior Monsieur to Dior Homme to Dior Men. Which doesn't mean it has not had an impact: The true power of Dior menswear has been to exist as a sort of creative lab nested within one of fashion's premiere labels. The common denominator of its designers has been to challenge and rethink the sartorial status quo for men in the same spirit as Monsieur Dior's 'New Look.' Christian Dior is credited in history for the famed silhouette of his first collection, but he is not always recognized for the way in which his business-minded ventures have helped shape the industry today. Dior launched fragrances, satellite offices (New York in 1948, famously), a footwear line designed by Roger Vivier (1953), and even his own Little Dictionary of Fashion (1954). He may not have seen his label expand into ready-to-wear with Miss Dior or childrenswear with Baby Dior, both in 1967, nor menswear later that decade; Dior died in 1957. But his influence has remained. With Jonathan Anderson ascending to the role of sole creative director of Christian Dior with his debut menswear show on Friday, June 27, we are revisiting the history of Dior's menswear to trace its impact. 1969: Christian Dior Monsieur Christian Dior died of a heart attack in Italy in October of 1957. Yves Saint Laurent, his first assistant since 1955, was appointed creative director of the house per his wishes. The tenure was short-lived. Marc Bohan, a designer for Jean Patou who joined Dior in 1958 as creative director of the house's London subsidiary, succeeded Saint Laurent as creative director. Bohan is Dior's longest-serving creative director, clocking in at almost 30 years, His signature 'Slim look' became as omnipresent as the New Look in its time. Dior's first men's fragrance, 'Eau Sauvage,' was released in 1966, and Bohan launched Christian Dior Monsieur, the house's first official men's line, in 1969. The first collection was 'Boutique Monsieur' for the spring-summer 1970 season. The line was subsequently designed by Christian Benais and then Gérard Penneroux, and never again overseen by the same creative director as the women's until today with Anderson's appointment.
