By David
April 19, 2025
In the sacred silence of Kyoto’s historic To-ji Temple, with cherry blossoms casting their ethereal pink glow and ancient pagodas standing as silent witnesses, Maria Grazia Chiuri unveiled Dior’s Pre-Fall 2025 collection—a collection that wasn’t just a runway show, but a poetic dialogue between past and present, East and West, craftsmanship and couture.
This season, Chiuri reached into the soul of Dior’s legacy with Japan and reawakened a conversation that Christian Dior himself began over 70 years ago. What unfolded was not just fashion—it was a reverent homage to cultural continuity, feminine strength, and the transformative power of design.
The Setting – Where Spirituality Meets Style
The To-ji Temple, a UNESCO World Heritage Site and one of Kyoto’s oldest temples, was a powerful choice for Dior’s showcase. As the soft melodies of Ryuichi Sakamoto and Ichiko Aoba floated in the evening air, a serene ambiance enveloped the guests—among them Lily James, Sonam Kapoor, and Deva Cassel. The mood was introspective, respectful, and intimate, setting the tone for a collection rooted in tradition and innovation.
Amidst falling sakura petals, Chiuri’s models emerged like modern geishas and urban warriors, their garments speaking volumes in silence. The environment was not just a backdrop—it was part of the narrative.
A Legacy Revisited – Dior’s Japanese Affair
Christian Dior’s fascination with Japan dates back to the early 1950s. From the 1952 “Tokio” dress to the 1954 “Outamaro” ensemble crafted with Kyoto’s Tatsumura Textile, Dior’s designs have long drawn inspiration from Japanese aesthetics. This affinity culminated in his role in designing dresses for Princess Michiko’s wedding in 1959—an honor that sealed Dior’s bond with the country.
Chiuri delved deep into this legacy, not with mimicry, but with introspection. Her collection was less about appropriation and more about admiration—an artistic love letter to the timeless silhouette of the kimono and the philosophies it embodies.
Kimono Reimagined – Dialogue Between Body and Fabric
Central to this collection was the kimono—not as a costume but as an architectural marvel. Chiuri explored its two-dimensional structure, unisex form, and the harmony it fosters between body and garment. “It’s the body that defines the shape of the kimono,” she noted—an idea that opposes the Western tendency to sculpt the body to fit the dress.
This philosophy translated into elegant robe-manteaux, fluid bomber jackets, and structured yet relaxed coats. An indigo denim jumpsuit reinterpreted the kimono through a contemporary lens, while oversized brocade coats evoked both history and innovation.
Artisans at the Forefront – A Testament to Craftsmanship
What set this collection apart wasn’t just its design but its depth of craftsmanship. Chiuri collaborated with Kyoto’s most storied artisans, reviving partnerships that dated back to Dior’s early Japanese ventures.
The Tatsumura Textile atelier, which worked with Dior in the 1950s, recreated historic brocades in modern silhouettes. A golden floral brocade was transformed into a cinched kimono-style coat, while deep green motifs appeared on relaxed trousers and matching jackets.
Master dyer Tabata Kihachi and the Fukada family contributed traditional Yuzen dyeing and embroidery techniques, bringing to life delicate cherry blossoms on tunics, jackets, and even live performers’ attire. This was not just fashion—it was wearable heritage.
Silhouettes of Strength and Softness
Chiuri’s vision straddled dualities—masculine and feminine, strong and soft, modern and traditional. Wide-legged jeans bore origami-like folds, while floor-grazing sheer silk gowns shimmered with embroidery inspired by “mono no aware”—the Japanese concept of the transient beauty of life.
Footwear followed suit: open-toe tabi boots, lace-up geta sandals, and straw flip-flops grounded the looks with a blend of practicality and poetic nostalgia. Even the accessories nodded to the past while embracing the future.
A Subtle Rebellion – Feminism and Function
At its core, Chiuri’s collection celebrated women—not as muses or ornaments, but as active participants in culture and life. The sporty ease of bomber jackets, utility-style shorts, and painter’s denim jackets balanced the romanticism of brocades and embroidery.
Sheer gowns with elongated silhouettes defied the notion that femininity must be fragile. Chiuri’s women are not shrinking violets—they are warriors, artists, and thinkers wrapped in silk and steel.
Kyoto as a Mirror – A Reflection on Identity
This wasn’t just a fashion show. It was a meditation on identity, rooted in the themes explored in Kyoto’s National Museum of Modern Art’s exhibition “Love Fashion: In Search of Myself.” The show prompted Chiuri to revisit Dior’s historical silhouettes like the Diorcoat and Diorpaletot—coats designed to be worn over kimonos—and reinterpret them for today’s audience.
In doing so, Chiuri bridged generations and geographies. She proved that fashion, when done with sensitivity and soul, becomes a universal language.
A Collection Beyond Fashion
Dior’s Pre-Fall 2025 collection in Kyoto was more than an aesthetic triumph. It was an emotional and cultural reckoning—a journey through history, philosophy, and craftsmanship. Chiuri honored not just Christian Dior’s fascination with Japan, but the very essence of Japanese artistry: its restraint, reverence, and reinvention.
As the final model disappeared behind the temple’s pagoda and the last cherry blossom drifted to the ground, one truth remained clear—this was a collection that would echo long after the runway was cleared.
