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Nine Years Crafting the Voice of Women at Dior with Maria Grazia Chiuri
Jun
In her nine years at Dior, Maria Grazia Chiuri has done more than just hold the position of Creative Director. Her tenure resembles a ritual we often reflect upon before parting ways. And what is it that defines Chiuri? Surely, it is an almost limitless dialogue on women and femininity.
To reflect on nearly a decade of Maria Grazia Chiuri’s journey at Dior, nothing encapsulates that spirit more clearly than the phrase “We Should All Be Feminists” printed on the T-shirt worn during her debut runway show for Spring/Summer 2017. Inspired by Nigerian writer Chimamanda Ngozi Adichie’s famous quote, Chiuri made history as Dior’s first female Creative Director, initiating a new wave in the world of haute couture. Her appointment stands as a counter-argument to old stereotypes, challenging the notion that femininity cannot coexist with feminism in the modern fashion landscape.
There, Chiuri’s feminism does not take the form of authoritarian power or a domineering presence meant to showcase strength, nor is it the muse standing gracefully outside her own story. She places women at the center. Under Chiuri’s tutelage, women’s fashion does not oppose Dior’s philosophy; instead, it expands and reinterprets it. Specifically, tailoring and stitching are no longer dictated by the ideal measurements of waist and hips but embrace the body as it truly is and as it wishes to express itself. Throughout these nine years, she has remained steadfast in this approach.
Alongside her fashion innovations, Chiuri’s runway shows often resemble art installations more than traditional catwalks. For example, the “The Female Divine” space in January 2020 resembled a large, bulging uterine structure designed and erected by American feminist artist Judy Chicago in the gardens of the Rodin Museum—one of the most striking examples. At that moment, Chiuri’s aim was not to shock but to pose a provocative question: “What would a female-dominated world look like?” Similarly, in 2018, she placed Mexican horsewomen (escaramuzas) at the center of the runway. These images might evoke national pride or strength, but deeper down, it’s Chiuri reawakening collective memories of women who have existed, fought, and challenged stereotypes through their very presence.
Furthermore, Chiuri has dedicated her entire tenure to redefining the relationship between fashion and women, expanding it into a multi-layered, multidimensional community where many voices are heard. She often says that instead of viewing “empowerment” as a form of individual power, for her, strength comes from connection. She considers fashion a form of listening, and within that act of listening, women are invited to take center stage in the story.
This spirit is vividly reflected in the documentary film “HER DIOR” (2025), which documents Maria Grazia Chiuri’s artistic collaborations with women artists, her feminist vision, and her transformative influence in the fashion world. Throughout her tenure, Chiuri has worked with numerous female artists such as Judy Chicago, Faith Ringgold, and Mickalene Thomas to create innovative presentation spaces.
Just one year after her debut at Dior, Chiuri launched the Spring 2018 collection with a T-shirt bearing the phrase “Why Have There Been No Great Women Artists?”, taken from Linda Nochlin’s 1971 essay. Additionally, Chiuri consistently collaborates with female photographers for all Dior campaigns, further emphasizing her commitment to elevating women’s voices and perspectives in fashion and art.
Since joining Dior in 2016—after leaving Valentino to take on a significant leadership role—Maria Grazia Chiuri has reshaped the brand’s image and product strategy toward greater diversity and versatility, reflecting the realities of modern women’s lives—from office wear to glamorous evening looks. Beyond refreshing traditional Dior designs, she has redefined iconic symbols like the Saddle bag and introduced widely celebrated accessories such as the Book Tote and Bobby Camera Bag. It can be said that items like the J’Adior slingbacks, the Book Tote, and slogan T-shirts—all embodying cultural symbols—have become icons of the global feminist style movement over nearly a decade.
Since 2017, when Chiuri’s first collections hit the shelves, a genuine wave of change swept through Paris’s fashion capital. Dior’s revenue tripled, reaching €6.6 billion, with rumors suggesting the brand might even rival Chanel at that time in the fierce Paris fashion race. Gradually, this success was fueled by the pioneering feminist energy she brought combined with the grand scale of her “theatrical” shows, forming a solid commercial strategy. Dior’s revenue skyrocketed from approximately €2.2 billion in 2017 to a peak of €9.5 billion in 2023, before slightly decreasing to €8.7 billion in 2024 amid the global luxury market slowdown.
Chiuri’s vision extends far beyond local borders. This is clearly demonstrated through her long-term partnership with the Chanakya School of Craft in Mumbai, India. Over nearly a decade, she has worked closely with female artisans to incorporate traditional hand embroidery and indigenous textile stories into the Dior universe, seamlessly linking exquisite craftsmanship with the language of haute couture fashion.
The Dior Cruise 2026 runway show held on May 27 at Villa Albani Torlonia in Rome—Chiuri’s hometown—marked a beautiful conclusion to her journey at Dior. Dominated by a white palette, this show, infused with the spirit of ancient Rome, was not only a fashion symphony but also a profound reflection on Chiuri’s roots, heritage, and artistic aspirations. Amidst the timeless stone columns and arches, she closed a luminous chapter with elegance, serenity, and wisdom—embodying the very essence of her nine-year legacy at the French maison.
Certainly, Chiuri is likely ready to focus on her personal projects that are more profound and sustainable, such as her plan to restore the Teatro della Cometa—an ancient theater in Rome. She intends to transform it into a creative space that serves as a intersection of performing arts and visual culture, reflecting her deep engagement with cultural preservation and innovative expression.
There are also speculations that her next ideal destination might be Fendi, a brand closely associated with the early years of her career—and importantly, based in Rome, the city of her childhood, memories, and creative self. In this scenario, she would simultaneously lead a major fashion house while nurturing her work with the Teatro della Cometa, alongside her daughter Rachele Regini, who has always been a close confidant and partner in her journey of feminist expression and creative exploration.
For Dior, the doors are wide open to a new chapter. The name most frequently mentioned by insiders is Jonathan Anderson, who officially joined Dior in April 2025 as the artistic director of menswear. Anderson, known for his sharp aesthetic sensibility, deeply artistic vision, strong sense of individuality, and subtle empathy with contemporary times, is believed to share many qualities with Chiuri, signaling an exciting future for the house.
