Latest news with #Chiuri
RTÉ News
02-06-2025
- Entertainment
- RTÉ News
Here's how Jonathan Anderson is making history at Dior
Northern Irish designer Jonathan Anderson has been announced as the next artistic director of Dior, making history by becoming the first designer since Christian Dior himself to oversee men's, women's and couture at the French fashion house. Online fashion discourse is celebrating the replacement, seeing Maria Grazia Chiuri step down. But after a spectacular final show from her at the French fashion house, such celebrations are being criticized as yet another woman has left a senior role in luxury fashion. There is no doubt that Chiuri has left a mark on Dior, more than tripling their sales during her nine-year tenure. Yet her collections have divided fashion enthusiasts with some lamenting that her final show on 27 May (Dior's cruise 2026 collection) was her best work. But others noted that they would have been more supportive earlier in time with Dior if she had shown such work from the outset. On 8 March 2025, in celebration of International Women's Day, Maison Dior premiered HER DIOR, a documentary by Loïc Prigent chronicling Maria Grazia Chiuri's radical collaborations with renowned female figures since becoming Dior's Creative Director for womenswear in 2016. The film opens with her first show for Dior and words by artist Judy Chicago, and charts Chiuri's journey from Rome to the global stage. As noted by the house, it distilled the essence of these poignant artistic exchanges in a single word: sisterhood. But was it also an early goodbye from Dior as well as a recognition of her talents? This was cemented in the Dior cruise 2026 collection, the maison's first full-scale show in Rome, but for Chiuri it was personal. Born and raised in Rome, Chiuri said the most beautiful goodbye, she returned home and evoked a sense of memory, mythology, place and her vision. With Anderson now taking the role, the ambitious Northern Irish designer has spent the last 11 years as Creative Director of Loewe (before taking the helm at Dior Men in April), has collaborated with Uniqlo since 2017 and all while remaining the head of JW Anderson. Established in 2008, JW Anderson began as an elaborate collection of accessories before progressing to menswear and then womenswear by 2010, and presenting in 2011. He was notable for his unique design aesthetic, which saw him cut and paste different elements of both menswear and womenswear to create silhouettes that are often a blend of both. In this new role, it will be interesting to see how his known disdain for making dresses fares at a house like Dior. Anderson has mentioned in previous interviews that life in the small town of Magherafelt in Northern Ireland spurred on his ambitions, coupled with trips to the Balearic Island of Ibiza. His parents noted that he was 'animal crazy,' a motif that still features in his work: his very first accessories collection featured encased insects – an injection of humour when fashion can be overly serious. Anderson had previously lived in Washington, DC, before moving back to Ireland and working for Dublin's Brown Thomas prior to enrolling in the London College of Fashion. That first stint as a merchandiser for Prada in Dublin led him to work on window displays for the brand while studying and eventually meeting Manuela Pavesi, the eccentric collaborator of Miuccia Prada. Until Pavesi's death in 2015, Anderson previewed each of his collections to her, and he says he received his "real education" from her. Perhaps he also gained from her the importance of the right team - he has since surrounded himself with incredibly talented collaborators. This has allowed Anderson to become known for pushing limits with a complex vision and a dash of humour. There is no doubt that the accolade-laden designer has the experience for this new role, but what about the vision? Anderson has specialized in skewing gender norms, from his debut menswear collection (which featured flowing silk shorts and blouses on male models), to 2013 when Anderson's gender-blurring reached its apex with tube tops and ruffled shorts paired with frilled knee-high riding boots. Anderson's inspiration seems to also spring from unconventional sources, while often still paying homage to his roots in Northern Ireland. The S/S24 Ready-To-Wear collection very famously featured a blue hoodie and white shorts moulded from Plasticine, a medium for creativity still manufactured in Northern Ireland. That same year, the Ready-To-Wear A/W24 collection took inspiration from the OAP stars of Last of the Summer Wine. This was all a precursor to June 2024, when Anderson's S/S25 revealed a collection of items inspired by Guinness, its iconography, and the art of branding. The collection was inspired by the JW Anderson team's visit to the drinks company's brewery. Paying homage to the look, texture and colour scheme of the beverage, pieces mixed elements of inclusive luxury with wearable fabrics to create the likes of pearl-effect jersey embroidered to recreate the creamy Guinness head. Both Anderson and Chiuri have been inspired by literature in their work. In her A/W25 collection - her penultimate show and rounding out nearly 10 years at Dior - Chiuri was inspired by female writers once again, this time by Virginia Woolf. Looking to Orlando, Woolf's radical, gender-defying novel, the result was a collection that celebrated the transformative and transcendental power of clothing. The collection nodded to Dior's own chapters of history, a fitting homage to the house and to Woolf's time-travelling story. Interestingly (and via another cryptic Instagram post in September 2024), Anderson revealed that inspiration for his S/S25 collection came from literature and art, with a quote from critic Clive Bell's groundbreaking book, Art: 'In art the only important distinction is the distinction between good art and bad.' Bell (who also happened to be the brother-in-law to Virginia Woolf) was famously responsible for the concept that for art to be deemed 'good,' an emotional response must be triggered from the viewer - the theory of Significant Form. Opinions are split as to whether Anderson will do well at Dior (a legacy fashion house that was established in 1946), citing his innovative design and androgynous aesthetic as reasons why he may not necessarily flourish. However, it could be a chance for Anderson to return to his roots with accessories, or elevate the fashion element of a heritage-heavy luxury brand, just like he had done at Loewe (which was first established in 1846). Needless to say, it will be interesting to see what the Derry man does next.
Observer
31-05-2025
- Entertainment
- Observer
Dior shows Maria Grazia Chiuri's cruise collection in Rome
French fashion house Dior showed creative director Maria Grazia Chiuri's cruise 2026 and fall-winter haute couture 2026 collections at a fashion show in the gardens of the Villa Albani Torlonia in Rome on Tuesday at night. Guests sat under transparent umbrellas as models marched past on a gravel walkway lined with hedges. They paraded sheer gowns covered with lacework, textured dresses with rows of ruffles and long, tailored coats - mostly in white, ivory and nude colors. A sharp-shouldered trench coat, military jackets and tailcoats over skirts brought contrast to the airy looks, as did a few dresses in red or black velvet. After the show, Chiuri rounded the gardens for her bow as the audience stood, cheering and clapping, while mist rose from the gardens. The catwalk presentation, which drew on references to Italian cinema and theatre, follows last week's cruise fashion show from Louis Vuitton, another LVMH-owned label, in Avignon, France. The shows come as the luxury industry grapples with a prolonged slump in business, and a number of high-end fashion labels are seeking new creative direction to reignite interest from shoppers. Over the last five years, Chiuri has established herself as a groundbreaking leader, blending activism, craftsmanship, and innovation to redefine the brand's identity. Since taking the helm in 2016, Chiuri has championed feminism and social justice through her collections, making Dior a platform for powerful messages. Dior shows Maria Grazia Chiuri's cruise collection in Rome Her 2019 'We Should All Be Feminists' T-shirts became an instant icon, sparking global conversations about gender equality. Subsequent seasons incorporated slogans, symbolic motifs, and references to female empowerment, turning runway shows into potent statements. Chiuri's respect for Dior's heritage is evident in her reinterpretation of classic silhouettes, emphasizing artisanal techniques and sustainable practices. She has prioritized eco-friendly materials and collaborations that promote ethical production, aligning luxury with responsibility. Her partnerships with contemporary artists and activists, including Judy Chicago, have expanded Dior's cultural impact, fostering dialogue around gender, identity, and creativity. These efforts have garnered widespread praise for authenticity and influence. The 2025 show, held in Paris, marked a significant milestone. It showcased a daring new direction—mixing couture craftsmanship with futuristic design elements. Incorporating digital innovation and sustainable fabrics, the collection reflected Chiuri's commitment to modernity and environmental consciousness. Critics applauded the show for its boldness and relevance, emphasizing how Dior continues to evolve while maintaining its heritage. As Dior advances under Chiuri's visionary leadership, her body of work exemplifies how fashion can be a catalyst for social change, blending tradition with contemporary activism. The 2025 show underscores her role as a transformative figure, shaping the future of luxury fashion rooted in purpose and innovation. —Reuters
Hypebeast
30-05-2025
- Entertainment
- Hypebeast
Dior Confirms Maria Grazia Chiuri's Departure and Brain Dead Opens Inaugural NYC Outpost in This Week's Top Fashion News
Below, Hypebeast has rounded up the top fashion stories of the week so you can stay up to date on trends in the industry. Early on Thursday,Maria Grazia Chiuriannounced her departure as the creative director ofDior's womenswear and couture lines, ending her nine-year tenure at the French fashion house. The news broke just days after her Cruise 2026 show in Rome, now understood to be her final collection for the house. In 2016, Chiuri made history when she became the first woman to lead Dior since its founding in 1947. Delphine Arnault, chairman and chief executive officer of Christian Dior Couture shared, 'I extend my warmest thanks to Maria Grazia Chiuri, who, since her arrival at Dior, has accomplished 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.' Her tenure was characterized by a distinctly feminist perspective, pushing empowering slogans and collaborating extensively with female artists for her runway show scenography. While her successor has yet to be officially named, rumors suggest thatJonathan Anderson, who was recently confirmed as the creative director for Dior Men, may also take over the womenswear line. The Los Angeles-based creative collectiveBrain Deadhas inaugurated its first retail outpost in New York City, located at 202 Elizabeth Street. The expansion from the West Coast marks a major step for the brand, establishing its presence on the East Coast and offering a physical hub for its diverse community of fans and collaborators. The new store features a playful interior design imbued with eclectic details, including a large hippo art sculpture and fixtures adorned with 3D-printed ornamentation. The move to open a flagship store in New York City reflects Brain Dead's growing community and its affinity for immersive brand experiences. Expected to serve as more than just a retail space, the store functions as a physical hub of the collective's ethos, bridging different worlds, scenes, and perspectives under one roof, much like their existing Brain Dead Studios on Fairfax Street in Los Angeles. Jacquemushas brought all of its business matters under one roof with its very own holdings company, Jacquemus La Maison Mère. Formally founded in March and chaired by designerSimon Porte Jacquemus, the Paris-based company presently operates two branches: Jacquemus La Mode, or the label's ready-to-wear business valued at €530 million EUR, and Jacquemus La Beauté, or the brand's beauty line valued at €46.1 million EUR, per Fashion Network. The entity holds 98.15% of the former and 100% of the latter, which, together, are valued at €576.1 million EUR. It was February when Jacquemus entered its an exclusive beauty partnership withL'Oréalas the French cosmetics conglomerate acquired a 10% minority stake in the company. The following month, Jacquemus appointed Sarah Benady, previously president ofCelineNorth America, as its new chief executive officer to lead the company toward '[becoming] a leading global luxury house.' As Jacquemus continues to eye international growth, Jacquemus La Maison Mère lays the foundation for an ever-expanding brand world that's increasingly reaching into other product categories. Following his star-studded debut atParis Fashion Weeklast January, Mexican-American menswear designerWilly Chavarriais among the prestigiousANDAM Fashion Awards2025 finalists for the Grand and Special Prizes. Joining Chavarria is French mens labelEGONlab, which won the Pierre Bergé Prize in 2021, and three women's designers: Alain Paul, Meryll Rogge, and Zomer. Founded in 1989 by Nathalie Dufour, with the French Ministry of Culture, ANDAM was conceived as an incubator initiative and accolade for assisting young emerging designers on the French and international scene. On this year's selection, Dufour said, 'Whatever their level of development, whether nascent or more established brands, the need for liquidity is a fundamental topic to ensure their perenity,' in a statement for WWD. 'The profiles selected also offer an interesting vision of the different economic models that can be invented to stand out and carve a space in a very competitive industry: B2C strategy, niche positioning, and managed growth, innovative and ecologically committed.' The 2025 ANDAM Fashion Award ceremony will be held on June 20 at 7 pm CEST. As menswear designers, buyers, journalists, and aficionados prepare to gather for the 108th edition ofPitti Uomoat Florence's Fortezza da Basso, Asia-based designers are making a bigger splash than ever. From June 17 to 20, the event will showcase the Spring/Summer 2026 collections of over 730 brands in a winding exhibition-like trade show, and it will host a series of runway presentations from several designers. Those will include previously announced guest of honorHomme Plissé Issey Miyake, guest designersPAF(Post Archive Faction) and Niccolò Pasqualetti, and now,Children of the Discordance. The brand, launched in 2011 by Hideaki Shikama, has established a distinct aesthetic, incorporating sophisticated craftsmanship into deconstructed streetwear, and reworked materials. In collaboration with the Japan Fashion Week Organization, Pitti Uomo has brought on the Hideaki Shikama-led brand to host a 'Special Event' during the trade fair, which will include a runway show, on June 17. Demna-founded Swiss labelVetementshas lost its years-long battle to trademark its brand name in the US. According to a report from The Fashion Law, the U.S. Court of Appeals for the Federal Circuit affirmed the U.S. Patent and Trademark Office's (USPTO) refusals for 'VETEMENTS to be trademarked on May 21, stating that the term 'vetements,' the French word for 'clothing,' is generic when used for garments and retail services. Due to French being a commonly spoken and taught language in the U.S., and the word 'vetements' is directly descriptive of the clothing goods at issue, the court affirmed the Board's decision, according to the report. Regardless of the brand's acquired significance, the USPTO will not accept any further evidence supporting the appeal. The brand, started by siblings Demna andGuram Gvasaliain 2014, attempted to secure a U.S. trademark registration for apparel and online retail services in 2020.
The Star
30-05-2025
- Entertainment
- The Star
Ethereal, dreamy, poetic: Looking back at Maria Grazia Chiuri's final Dior show
The fog drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the Dior Cruise 2026 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 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 (co-screenwriter) Ennio Flaiano originally suggested as a title for (director Federico) Fellini's 8 1/2 . 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. Read more: What led to Jonathan Anderson's sudden appointment as head of Dior menswear? Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecitta to director Pier Paolo Pasolini and Mimi Pecci-Blunt, an early 20th-century patroness of the arts who built a private theatre 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, director Matteo Garrone (who made a short film in honour of the collection), artist Pietro Ruffo, 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 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 menswear. Note: This story was written before the announcement of her exit. LVMH, which owns the house, has not addressed the rumours, and when asked directly, 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. Maria Grazia Chiuri, creative director of Dior waves at the end of the Dior Cruise 2026 womenswear show at Villa Albani Torlonia, in Rome. Photo: AFP Maybe they are hedging for legal reasons. Maybe 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 recognised 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 Chiuri, who both helped grow Dior to what is estimated to be close to US$9bil (approximately RM38.2bil) in revenue and expanded its identity more than anyone may have realised. She is quoted in the documentary Her Dior – a study of 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 , 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. Read more: A look back at Jonathan Anderson's star-studded legacy of dressing celebrities 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 Garrone made during Covid-19 and to the dancers she had included in other shows); to a possible future (her work with the Roman theatre); to the goodbye of her colleague, former Dior menswear designer Kim Jones, who resigned after his January show (as in that show, some of 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 womenswear schedule, and it would have been Chiuri's next collection, if there actually were one. For now there was just the Cruise 2026 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. – ©2025 The New York Times Company This article originally appeared in The New York Times.
The Star
30-05-2025
- Entertainment
- The Star
Dior's first female head of womenswear, Maria Grazia Chiuri, steps down
Maria Grazia Chiuri, the first woman to lead Dior's women's collections, announced Thursday (May 29) she is stepping down as creative director after nine years at the storied French fashion house – the latest sign of mounting pressure and ongoing creative turnover at the top of the fashion industry. The Italian designer confirmed her long-rumoured departure in an Instagram post, capping a transformative era defined by bold feminist messaging, record sales and industry-defining collections. "I am particularly grateful for the work accomplished by my teams and the ateliers. Their talent and expertise allowed me to realise my vision of committed women's fashion, in close dialogue with several generations of female artists,″ Chiuri wrote. "Together, we have written a remarkable and impactful chapter, of which I am immensely proud.' Chiuri, 60, leaves behind a legacy that reshaped Dior's creative direction and broadened its global appeal. Since her arrival in 2016, she steered Dior through a golden era of commercial and cultural success. Read more: What led to Jonathan Anderson's sudden appointment as head of Dior menswear? Revenue reportedly rose by nearly US$8bil (approximately RM33.8bil) from 2017 to 2023 as Chiuri's vision of empowered femininity resonated with a new generation of clients. The house itself credited Chiuri with nothing less than redefining "the identity and femininity of the Dior woman, celebrated and reimagined the iconic heritage and savoir-faire'. Delphine Arnault, the LVMH executive who oversees Dior, paid tribute to Chiuri's "tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior'. Chiuri, Arnault added, not only designed "highly desirable collections', but "has written a key chapter in the history of Christian Dior' – a chapter that will forever be marked by the milestone of her being the first woman to lead the women's collections. Chiuri's debut for Spring 2017 made headlines with "We Should All Be Feminists' T-shirts, declaring a new era for Dior. She brought activism to the runway, collaborating with artists like Judy Chicago and Faith Ringgold. She revived icons such as the Saddle Bag and made space for women's voices, drawing on Dior's past while rewriting its aesthetic. Chiuri departs as the first woman to lead Dior since its founding in 1947, having redefined the house's codes and opened the door to a new chapter at one of fashion's most influential brands. Her exit comes amid a broader wave of creative upheaval across the industry. Pierpaolo Piccioli, her former co-creative director at Valentino, was recently named artistic director of Balenciaga – after Alessandro Michele, known for his maximalist, gender-fluid reinvention of Gucci, was appointed to succeed Piccioli at Valentino in 2024. Meanwhile, Matthieu Blazy, who stepped down from Bottega Veneta last year, will debut at Chanel this fall, succeeding Virginie Viard – whose unceremonious departure shocked the industry. The recent round of high-profile exits and appointments has amounted to fashion's most dramatic game of musical chairs in years – and it's giving the industry whiplash. Read more: A look back at Jonathan Anderson's star-studded legacy of dressing celebrities The moves reflect a period of transition for major fashion houses as they adapt to shifting consumer expectations, slower luxury growth, and the demands of a digital-first market. At least half a dozen top houses have changed creative leadership in the past year alone – a sign of the mounting pressure on designers to deliver both artistic vision and commercial results in an increasingly unstable landscape. Chiuri's shows spanned continents, from Mumbai to Kyoto, each celebrating craft and community. But for her final collection, Resort 2026, Chiuri returned home to Rome – staging the show at Villa Torlonia, enveloping her guests in ritual white, and invoking the spirit of Italian cinema with a film by Matteo Garrone. The choice of her native city, paired with the all-white dress code, signalled a deliberate full-circle moment; an intimate farewell and a subtle hint that Chiuri was preparing to close her chapter at Dior. Dior has not yet named a successor, but speculation centers on Jonathan Anderson, who recently took over Dior's men's collections. – AP
