Dior celebrated youth, whimsy and escapism in the gardens of the Musée Rodin at Paris Haute Couture week, presenting a spring/summer collection inspired by childhood and the iconic Trapeze Line of Yves Saint Laurent. Creative director Maria Grazia Chiuri, the first woman to lead the label in its 70-year history, drew on the surreal embroidery of Indian artist Rithika Merchant, whose tapestry featured colourful creatures and dreamlike illustrations.
“For this collection I was inspired by the Trapeze Line of Yves Saint Laurent because in some ways it references children’s clothing,” said Chiuri. “I believe that our childhood should be revisited because it is a very formative time of our existence.” The silhouette was far more structured than Chiuri’s usual style, steering away from the draped, fluid lines of last season’s haute couture show. Saint Laurent launched his Trapeze Line in 1958, deviating from Dior’s ‘New Look’ to prove women could look sexy without accentuating a slim waistline.
Chiuri showcased abbreviated frock coats and cocooning outerwear, with dramatically sweeping ruffles and densely layered fabrics that imbued a sense of motion. Extravagant embellishments featured flowers and butterflies, evoking the naturalism made famous by Christian Dior’s ‘Miss Dior’ dress of 1949. Transparent organza, broderie anglaise and lace attached to cage-like crinolines with streaming ribbons showcased a naïve rawness, as if the models had been caught playing dress-up.
While the fabrics were fancifully feminine, Chiuri’s monochromatic palette alongside Sixties accents of Jackie O shift coats and military jackets signalled a 1960s revival in 2025 fashion. Celebrities front row included Pamela Anderson, Venus Williams, Elizabeth Debicki and Jenna Ortega, all channelling the sombre palette. Anderson, 57, wore a slate grey suit with an Alice band and veil, while Debicki, 34, kept it simple in all-black. Ortega, 22, best known for playing Wednesday Addams, wore a peplum suit with micro shorts and black leather opera gloves.
