Tectonic shifts, evolution, and reflection–Maria Grazia Chiuri explored all three in her emotional Christian Dior Fall 2025 collection. Put the meteors and flying pterodactyl aside (more on that later), and you could really see the designer’s love for the house of Dior in the clothes, and not just in the Galliano-era “J’Adore Dior” tank tops she brought back this season. In beauty, Dior creative and image director Peter Philips played with black eyeliner—a staple of the brand’s runways—while hairstylist Guido Palau pulled models’ hair into ultra-glossy, side-parted ponytails complete with wind-blown tendrils across the forehead.
This was one of Chiuri’s strongest showings since joining the house as creative director in 2016 because it was a celebration of her best work. These hard-edged, romantic designs have defined her tenure and brought a fresh (and female-driven!) perspective to Dior. For the fall collection, she was inspired by Virginia Woolf’s Orlando and ideas around metamorphosis. This was realized most succinctly in the sharply tailored tail coats and ruffle accents on tops and skirts that looked as though they were in a state of unraveling. Chiuri played with lace and sheer—a signature craft—in ways that brought strength and beauty to the body by way of sensual dresses with cascading pleats and lacy trim on those throwback “J’Adore” tanks. Mini dresses were accentuated at the hips, and there were a couple of glamorous black velvet suits, one in a tapestry floral print that exemplified Chiuri’s adeptness at making classic glamour seem like something totally new.
That same sentiment of fresh classics carried over to the makeup look. Philips strategically placed the Dior On Stage Crayon eyeliner in Black in a v-shape along the inner lashlines of the eyes, where highlighter would usually go. This untraditional placement and subversion of adding a touch of darkness where we typically seek light played right into the collection’s overall ideas. “For this show, which plays in five acts, we went for a neutral luminous look with a strong but discreet accent on the eyes,” Philips says. “To achieve this, we intensified the inner corners of the eyes with black Khôl liner.”
The rest of the makeup was kept fresh and clean. Brows were groomed using the brand’s Diorshow Brow Styler and On Set Brow gel, and the models’ skin was prepped with Dior Capture Le Serum and Capture Totale Hyalushot and then touched up using the Dior Forever Skin Perfect foundation sticks and the Dior Forever Skin Correct concealer. Lips got a coat of the Dior Lip Glow Oil in 000 Clear that was blotted down to reduce the shine.
The hair look created by Palau was a practical glossy ponytail. Still, the addition of tendrils plastered on the forehead—as if the pieces had been blown loose from the otherwise perfect side part—was a storytelling moment that played into the show’s extinction-event environment and narrative brought to lift by Robert Wilson. After all, the aforementioned meteors and flying pterodactyl weren’t the only elements the models braved on the catwalk: plumes of smoke, a floor that looked like boiling lava, glaciers that rose up beneath the floor, and paper confetti that channeled white ash rained down on the models’ heads during the show’s dramatic finale.
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