Dior Fall 2025’s presentation in Kyoto had an air of transcendence.It evoked “ukiyo”—a Japanese term meaning “floating world”—suggesting an immersed appreciation of the present.
As twilight descended over Kyoto’s ancient Tō-ji Temple, the setting for Dior Fall 2025, the cherry blossoms began to glow under delicate, intentional lighting.
Their pink hues—blush, taffy, and soft rose—stood out even from afar, painted vividly by the play of shadows and illumination. Arriving guests were welcomed by the swelling harmony of a live string quartet and hosts clad in sharp suits offering soft cashmere throws to ward off the evening’s chill.
The journey to one’s seat felt like stepping into a poetic tale: along a gravel path, over a narrow, arched wooden bridge spanning a lake that reflected the grandeur of the nearly 400-year-old Buddhist sanctuary. Though the current form of the venue dates back to 1644, its foundation was laid in 796, during the early Heian era.
During her nine-year journey with Dior, Maria Grazia Chiuri has transported the brand across the globe—Athens, Mexico City, Scotland—but the aura surrounding her Dior Fall 2025 presentation in Kyoto was uniquely transcendent. It evoked the spirit of Ukiyo, a Japanese term often translated as “floating world,” which speaks to immersing oneself in the beauty of the present and letting go of all burdens.
Many are unaware of Dior’s deep-rooted connection with Japan, a bond that spans decades. In the 1950s, Christian Dior, long fascinated by Japanese aesthetics, sought to build enduring collaborations with its artisans. In 1953, he became the first Western couturier to showcase a collection in Japan.
A year later, he unveiled “Outamaro,” a luxurious ensemble crafted from brocade fabric produced by Kyoto’s esteemed Tatsumura Textile workshop. During a recent media visit, artisans were observed hand-weaving silk on century-old looms, using delicate threads spun from cocoons that yield just a few meters of silk each.
Shortly before his death in 1957, Monsieur Dior introduced garments such as the Diorpaletot and Diorcoat—outerwear designed to be worn over traditional kimonos while preserving their form. His legacy reached another highlight in 1959 when he was commissioned to create dresses for the civil wedding of Princess Michiko, the future Empress of Japan—a project ultimately finished by Yves Saint Laurent, his chosen successor.
For Dior Fall 2025, Chiuri once again bridged continents and centuries, drawing inspiration from this shared Franco-Japanese heritage. She collaborated with local masters, including the Tatsumura atelier, to rework archival designs initially conceived under Dior himself nearly 75 years ago.
One featured a golden brocade with a green and ruby floral motif; another, a deep green brocade with gilded geometric patterns. These exquisite textiles were revived as a cinched kimono and a flowing overcoat paired with tailored trousers, gracing the Dior Fall 2025 runway with refined elegance.
What began as Dior’s vision decades ago has now been brought full circle by Chiuri. Like the antique looms still spinning silk in Kyoto, this dialogue between cultures and generations continues—timeless, patient, and ultimately, fulfilled.
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