Maria Grazia Chiuri reimagines history and gender at the Dior show

The intersection of history, gender and imagination took centre stage at Dior’s autumn/winter 2025 show during Paris Fashion Week, where creative director Maria Grazia Chiuri delivered a collection steeped in literary and historical references. Taking inspiration from Virginia Woolf’s Orlando, a novel known for its fluid approach to gender and time, Maria’s latest offering pushed Dior’s aesthetic into new territory — one where history’s rigid forms met modern ease and androgynous elegance.

Rumours that this could be Maria’s final ready-to-wear collection for Dior gave the show an added layer of intrigue, heightening the sense that this was both a personal and creative statement.

The historical influence was evident from the start. Maria returned to her signature white shirt, this time adorned with oversized removable ruffs — a direct nod to Orlando’s Elizabethan world. These exaggerated collars allowed wearers to shift between past and present, formality and ease, embodying Woolf’s vision of fluid identity.

As the collection progressed, history collided with fantasy. Pirate-inspired pantaloons billowed beneath tailored jackets, and trailing lace scarves floated past severe coats lined with delicate tulle. Maria’s fondness for blending strength and softness came through in fur-like collars and dramatically structured ruffs, offset by knee-high socks and sturdy leather shoes.

The interplay of structure and fluidity continued in black velvet ribbons, loosely tied with baroque pearls to suggest crinolines — historical shapes reimagined with a modern, almost improvised quality. Cut-out embroidery and appliqué clashed against sleek technical outerwear, creating a dialogue between craftsmanship and innovation. Masculine tailoring found its way into bustiers layered over jackets, further blurring gender lines. The collection’s historical play culminated with the return of the iconic ‘J’adore Dior’ T-shirt, first made famous during John Galliano’s tenure. This time, however, the model wearing it seemed deliberately miserable, raising questions — was it a comment on nostalgia, or simply an unfortunate moment?

The show’s dramatic staging amplified the collection’s message. Inside the Tuileries annex, the space transformed into an ancient, volcanic landscape. Smoke rose from the floor, crystals jutted upwards and boulders loomed overhead, as if the earth itself was being formed anew. The rawness of the setting stood in sharp contrast to the romantic, feminine environments Maria often prefers, signalling a shift in tone — perhaps even a farewell gesture.

Off the runway, however, it was K-pop star and Dior ambassador Jisoo who caused the day’s biggest stir. Her arrival triggered full-scale fan chaos, with crowds surging forward, security scrambling and the air filled with shrieks. For a moment, the fashion show risked becoming a concert, until the frenzy subsided and Jisoo took her seat alongside Natalie Portman, Elle Macpherson and Isabelle Adjani.

While the collection itself sparked conversation, the real buzz centred around Maria’s possible departure. Guests whispered about who might take the reins at Dior, with many convinced that Jonathan Anderson of Loewe is poised to step in — potentially overseeing both menswear and womenswear. The soundtrack’s haunting refrain, “Once upon a time, if I had but time,” only fuelled speculation.

Regardless of her future at Dior, Maria’s autumn/winter 2025 collection felt like a fitting summation of her legacy — one that celebrated women, questioned traditional power dressing, and redefined femininity on her own terms. By blending historical drama with contemporary ease, she ensured that, if this was indeed her last show, she would leave on a note both defiant and poetic.