Four runway shows that defined Maria Grazia Chiuri’s creative era at Dior

After nine years as creative director of womenswear at French fashion house Dior, Maria Grazia Chiuri officially announced her departure on May 29. The news comes just after her spectacular Cruise show in her hometown of Rome, staged in the opulent setting of Villa Albani Torlonia. A heartfelt tribute to her city and a graceful way to take a final bow, the show marked a fitting end to her tenure. Throughout her time at the Parisian label, Chiuri became known for her unapologetically feminist message and her dedication to celebrating the art of craftsmanship. Here, we look back at four runway shows that defined her years at Dior.

Spring-Summer 2018 Couture

Surrealism has long been a source of inspiration for fashion houses and designers, drawn to the movement’s boundary-pushing aesthetics and its iconic artists—Man Ray, Dalí, Miró, Magritte, Tanning—who paved the way for today’s expressive and liberating creative landscape. For this collection, Chiuri found inspiration in the work of surrealist painter and writer Leonor Fini.

Black and gold rectangular masks that only reveal the eyes recall Salvador Dalí’s signature motifs. Domino prints twist and distort across checkered dresses while feathers burst from waistlines. Gowns are shaped like hourglasses or birdcages—semi-sheer dresses with visible white frames evoke René Magritte’s iconic cages. Chiuri explored motion and perception with sheer layers and a monochrome palette. Black feather butterflies layered over white counterparts create dramatic contrast on a black gown.

Fall-Winter 2019

Maria Grazia Chiuri paid tribute to the 1950s by spotlighting the Teddy Girls—a subculture of young British women influenced by rock ’n’ roll. Overshadowed by their male counterparts who were often dismissed as juvenile delinquents, the Teddy Girls were among the first to embody an independent cultural identity in post-war England. Having grown up during wartime rationing and austerity, their bold fashion choices—mixing aristocratic garments with edgy hairstyles and rock’n’roll-inspired accessories—set them apart.

The Italian designer created 89 looks, featuring structured jackets and coats with oversized collars, vinyl bucket hats draped in black veils, and tulle and tartan skirts of varying lengths. Cinched belts and pearl chokers added contrast. Many strapless dresses echoed the dandy-inspired silhouettes worn by the Teddy Girls, stripped of traditional refinement. Chiuri once again used the T-shirt as a platform for her feminist voice, this time printed with: “Sisterhood is global.”

Fall-Winter 2022

After exploring British 1950s fashion, Chiuri turned to the same decade’s French-style heritage. The years 1950–59 were formative for Dior, marking the brand’s rise after its founding. Naturally, Chiuri reinterpreted the label’s iconic “New Look” introduced in the wake of World War II. The iconic Bar jacket—tightly cinched at the waist and flaring at the hips—was paired with fluid black skirts. Demure shirt-collar dresses and sheer floral lace tops were contrasted with high-tech motorcycle gear in electric blue, yellow, orange and green. Airbags were worn across the chest, gloves extended above the elbows, and protective armor wrapped around the shoulders and torso.

Chiuri paid homage to icons of French elegance, notably singer Édith Piaf, whose voice played during the show and whose spirit was embodied in somber black velvet dresses. A nod to Christian Dior himself appeared in raspberry-pink and rhubarb-green floral prints. Juliette Gréco’s androgynous style also inspired the show, with long skirts, turtlenecks in tweed and cashmere, and oversized jackets walking the runway.

Fall-Winter 2025

Maria Grazia Chiuri collaborated with visionary American director Robert Wilson for her final show. The collection was inspired by Virginia Woolf’s novel “Orlando,” a love letter to her muse Vita Sackville-West, whose life inspired the story’s gender-defying protagonist. Divided into five dreamlike acts, the show unfolded in near-total darkness. Surreal elements came to life on stage: a pterodactyl flew above the runway, glaciers emerged from the floor, and fireballs opened the show.

In a nod to Orlando’s fluid journey through time and gender, Chiuri blended feminine silhouettes (corsets), masculine tailoring (structured blazers), and androgynous pieces (skirts and trousers). Reflecting the novel’s time-spanning narrative, the garments featured historical references from multiple eras. Nineteenth-century–inspired coats were reimagined in innovative fabrics, while rich baroque details appeared alongside modern touches. Ermine fur swung beside black leather and printed tops, while lace, ruffs, embroidery and flared cuffs added to the theatricality. In some looks, Chiuri even wove in quotes from Virginia Woolf—a final creative offering to the house of Dior.