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Paris Fashion Week: Dior celebrates the 1960s

Maria Grazia Chiuri’s collection was a deep dive into the annals of style history, offering guests a lesson in the evolution of ready-to-wear

From the Christian Dior show, presented in Paris on 27 February
From the Christian Dior show, presented in Paris on 27 February (AFP)

Sculptural figures resembling cane warriors, clad in billowing dresses that evoked skeletal forms, stood sentinel on Dior’s runway, presenting a visual metaphor for the protection of vanishing cultures. The display marked another chapter in Maria Grazia Chiuri’s ongoing fusion of fashion and fine art at Paris Fashion Week.

Celebrities including Jennifer Lawrence, Maisie Williams, Elizabeth Debicki and Natalie Portman were among the audience, captivated by a collection that revisited the 1960s and the genesis of ready-to-wear at Dior. As described by the fashion house, this era was a pivotal moment “when fashion left the atelier to conquer the world.”

Here are some highlights of Tuesday’s Fall-Winter 2024 displays:


The cane frame sculptural decor by Mumbai-based artist Shakuntala Kulkarni made for a dramatic armor-like backdrop for designs that celebrated the freedom and empowerment of ready-to-wear clothes for the modern woman. The collection revisited the 1960s with a fresh, contemporary lens.

The collection’s footwear, with its buckled, strappy knee-high boots, directly mirrored the cane ceiling’s latticework, while elsewhere, garments paid tribute to the 60s’ iconic nipped waists and A-line silhouettes. Yet, Chiuri skillfully infused these retro elements with a modern twist, incorporating sportswear styles with round-shouldered coats that exuded a minimalist feel.

Scarves, a recurring favourite of Chiuri’s, were ubiquitous for fall, and were in the program notes heralded as “protective, enveloping, and embellishing as required” for a free and worldly woman.

Also read: Top trends at Milan Fashion Week

Among the collection’s highlights was a voluminous black crossover coat with an Asian influence, cinched at the waist and paired with a funky, studded black leather beret, standing out as a testament to Chiuri’s innovative historic fusion. Echoing the colour palette of Marc Bohan, Dior’s designer in the 1960s, the collection dazzled in white, orange, pink and neon green, with makeup tones to match. Exquisite pieces crafted in double cashmere and gabardine spanned little dresses, pants, coats, jackets and skirts, boldly cut above the knee, marking a chic, pared-down approach.

Dior’s showcase was a deep dive into the annals of style history, offering guests a meticulously crafted lesson in the evolution of ready-to-wear.

At the show’s heart, the Miss Dior logo took centre stage, elegantly emblazoned across an array of dresses, skirts and coats, each a testament to the brand’s rich heritage. The house provided attendees with detailed notes on the origins of ready-to-wear, spotlighting Dior’s pioneering role in the movement. Following Chloe’s footsteps, arguably the first recognized ready-to-wear brand established in 1952, Dior unveiled its inaugural ready-to-wear line under Bohan’s creative stewardship in the 1960s. This initiative marked a significant chapter in fashion and democratized luxury wear.


Saint Laurent’s indoor display was a spectacle of shadow and light, drawing an illustrious crowd that included Lily Collins, Diane Kruger, Olivia Wilde, Zoe Saldana and Kate Moss. Navigating the near pitch-black venue, guests were ushered by torchlight past opulent green-gold brocade curtains, setting the stage for a show steeped in sensuality and intrigue. An opera soundtrack and the lingering scents of perfume underscored it.

Designer Anthony Vaccarello took his sensuality to new heights this season. The collection featured skin-tight, sheer silks in subtle, powdery palettes that meticulously outlined the models’ forms, reminiscent of an “X-ray.” Inspired by the iconic “naked” gown Marilyn Monroe wore on her last public appearance, a signature for the storied house, it made for a provocative yet elegant statement where fabric seemed to melt into the skin. Contrasting this sex appeal, silk caps added a contradictory layer of covering, mystery, and class to the ensembles – alongside the allure of the gleaming statement earrings.

The show’s mood was further accentuated by the addition of large, black patent leather coats, introducing a rich textural contrast that broodingly mirrored the runway’s glossy, oil-slick surface.

This collection is one of Vaccarello’s most memorable thus far, striking a skillful balance between revealing and concealing. Crepe georgette suits draped softly over the skin alongside marabou feather coats that billowed with a timeless, ethereal weight. This fall showed that Vaccarello is a designer in evolution, demonstrating his adeptness at weaving the house’s historical elegance with contemporary flair.

Also read: Milan Fashion Week: Giorgio Armani showcases his love for nature


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