Majestic
Scotland

Theatrical and wonderfully bucolic, the splendour of the setting characterized the atmosphere of the show. Majestic, magnetic, almost mystical. For the Dior cruise 2025 collection, Maria Grazia Chiuri chose Drummond Castle, in Scotland, as a new port of call in the dreamlike cartography of destinations that inform the House’s heritage. Set in the Perthshire countryside, the grey stone structure sumptuously reflects the eras it has witnessed since its construction in the 15^th century. Below, terraced formal gardens – a reminder of long-standing historical ties – offered a spectacular promenade along meticulously landscaped pathways studded with rosebushes, Hidcote lavender and juniper, Japanese maples, purple plums and cypresses, forming two diagonals of the cross of St. Andrew, patron saint of Scotland. A fabulous scene of lush beauty. In this dazzling tableau bathed in the sun’s last rays – an ultimate touch of magic – Dior’s Creative Director of women’s collections revealed 89 original silhouettes. A triumphant exercise in style that opened to  the chords of a bagpipe played by musician Brìghde Chaimbeul, and foreshadowed the virtuoso score to come.

Maria Grazia Chiuri’s inspirations are both pluralistic and unequivocal: she wished to highlight the history of Scotland through the importance its culture has in the House’s origin story¹, as well as its ancestral savoir-faire, through various creative collaborations with Harris Tweed Hebrides, Johnstons of Elgin, Esk Cashmere, Robert Mackie and the brand Le Kilt. But beyond a simple reading of local textile techniques, she wanted to look at the character Mary Stuart, as recounted by Clare Hunter in Embroidering Her Truth: Mary, Queen of Scots and the Language of Power², an exploration of the captivating queen’s destiny through the fascinating prism of embroidery. 

And so it was that medieval influences sprang to life on blouses with gigot or balloon sleeves, bubble skirts in taffeta, voluminous trains that borrowed from the splendour of court dress, and collars richly adorned with guipure. Gowns in velvet or lace were embellished with a profusion of precious embroidery, producing exquisite plays of material and transparency, while the print of a coat entirely quilted with pearls recalled the tapestries of the Middle Ages. Mary Stuart’s defiant spirit lingered in the air as a whiff of rebellion infused the looks.

The warrior lexicon was evident in a new twist on chainmail, in the form of plastrons, boleros, sheaths and ultra-modern crinolines. Tartan, naturally, led the way. Revisited in various shades of purple, red and yellow – a magnificent palette that harmonized with the gardens at the Scottish countryside – it was reinvented endlessly so as to sublimate a complete wardrobe. It appeared on kilts – whether short or long – blazers and jackets, shorts and pants, and on dresses reminiscent of the essential tartan plaid, now delicately fringed and draped around the body. All these reinterpretations celebrated Christian Dior’s belief that tartan was “without a doubt the only fantasy fabric that resists fashion”³. 

This legendary fabric also flourished on a series of corsets, illustrating the punk sensibilities that run through the line. Laced, zipped and studded, the bustier becomes an accessory in its own right, sharing an idea of free, triumphant femininity. That vision was also reflected in waist-hugging belts, towering boots with multiple straps and leather chokers adorned with charms. The iconic Saddle, too, returned in a variation trimmed with metal studs and fitted with a shoulder strap embossed with crests blending heraldic symbols with House codes. A key detail and a subtle tribute, the traditional sporran – here embellished with the initials “CD” – completed selected looks.

A gripping performance by players from the National Piping Centre – under the guidance of composer Oliver Coates – lent an extra touch of enchantment and emotion to this timeless Scottish journey.