Cruise 2024 Show

Online on May 20th at 8.30 pm Mexico City time (May 21st 4.30 am CEST)

A constellation of places that spark emotions – this is what Mexico is to Maria Grazia Chiuri. A “place of the soul,” just as it was for surrealist artists, from Leonora Carrington to Remedios Varo, and for Tina Modotti who, through her photographs, captured the landscapes and people of Mexico.

The emblematic figure of Frida Kahlo continues to offer a powerful connection to this culture, celebrated at the heart of the Dior cruise 2024 collection. The Mexican artist transcended her body through her clothes, which became representation, proclamation, protest, and affirmation. Like a precious jewel case for a broken body, a cocoon-case concealing a butterfly meta-morphed into a motif unfolding in multiple shades and forms, through a series of prints. Moths also come to life on the silhouettes, based on a sketch by Andrée Brossin de Méré from the Dior archives. Maria Grazia Chiuri was inspired by photographs of Frida Kahlo bending the rules of gender boundaries. From the age of nineteen, Frida wore a men’s three-piece suit, transgressing her femininity to claim an independence above all intellectual. Suits thus pay tribute to her style while, in counterpoint, echoing the Tehuana custom, full skirts are worn with a traditional tunic: the huipil. For this new line, unveiled in Mexico City, Maria Grazia Chiuri has once again forged strong ties with local artisans who have excelled. Their expertise shines with original embroideries, co-creations crafted with their ateliers, adorning notably dresses and shirts.

A pink dress reminiscent of the one worn by Frida Kahlo in one of her self-portraits is featured. The captivating beauty of fragility is further enhanced by the variety of cotton, hemp and silk lace selected, by the meticulous designs of the collars sublimating the jersey and black velvet, and by the butterfly-like jacquards. Velvet is revisited in a mesmerizing palette of colors on skirts that, thanks to their pleats, emphasize the hips before opening into corollas. Butterflies also populate the toile de Jouy, illustrating Mexican flora and fauna alongside parrots, monkeys and strelitzias that also illuminate the paintings of Frida Kahlo.

The personal dimension that guided Maria Grazia Chiuri is reflected in the choice of venue for the show: the Antiguo Colegio de San Ildefonso, where the iconic Mexican painter studied.

A symbolic location, where she met Diego Rivera, the mentor, the love of a lifetime. In this privileged location, a performance by Mexican feminist artist Elina Chauvet will take place. Mexico, a country of the heart, expresses – through the emotional modulations and chromatic vivacity of this cruise line – a femininity that is constructed by a relationship with the natural environment, in a balance of engagement and light-heartedness.

CONSTELLATIONS

Reflecting sources of inspiration for the collection, and as a tribute to the ties forged with Mexico since the House’s beginnings, the Antiguo Colegio de San Ildefonso served as a privileged setting for the Dior cruise 2024 show. A symbolic space, the very locus of creation and love, where Frida Kahlo studied and where she met Diego Rivera... A magical moment, transcending time, alive with the power of art and exceptional craftsmanship.

MEXICAN POETRY

As a tribute to the iconic figure of Frida Kahlo, the silhouettes of the Dior cruise 2024 collection exalt the interweaving of a masculine-feminine spirit and traditional Mexican attire. Thus, heritage and audacity are combined in an allure transcending genres and celebrating exceptional artisanship. Butterflies, forming a guiding thread, punctuate the looks through couture embroidery, prints and accessories – from jewelry to shoes. Full skirts unfold in corollas and are worn with huipils or gabans; a passionate ode to the pluralistic virtuosity of ancestral Mexican techniques.

COLLECTIVE WEAVING

Connected by a belief in the preservation of traditional techniques and the safeguarding of cultural practices embodied by textiles, Maria Grazia Chiuri has gathered around her different generations of artisans from different regions of Mexico. Thus, the transmission of gestures, patterns and values pertaining to textile and dress form a common vision of the future, with thriving artisanal legacies.

^{Remigio Mestas}

^{Mazatec Community of La Chuparrosa, Jalapa de Diaz, Oaxaca}

^{Chinantec Community of Valle Nacional, Oaxaca}

^{Zapotec Community of Isthmus of Tehuantepec, San Blas Atempa, Oaxaca}

^{Project Coordinator: Remigio Mestas, Textiles Researcher, Promoter}

^{and Expert in Natural Dyes}

^{Adela González Vargas, Weaver}

^{Tomasa Pacheco Ignacio, Weaver}

^{Olegaria Méndez Cardano, Embroiderer}

^{Fátima Giselle Vásquez Méndez, Embroiderer}

^{Macabeo Aniceto Terrero, Embroiderer}

^{Antonia Gómez Velasco, Weaver}

^{Imelda Acevedo Jacobo, Embroiderer}

^{Eusebia García Avendaño, Embroiderer}

^{Virgilio Arturo García Ruiz, Weaver}

^{Sodelva Espinoza Gutiérrez, Embroiderer}

^{María Fernanda Jiménez Espinoza, Embroiderer}

^{Narcy Morales}

^{Mixtec Community of San Lucas Redención, San Pablo Tijaltepec, Oaxaca}

^{Project Coordinator: Narcy Morales, Architect and Designer}

^{Victoria Santiago García, Embroiderer}

^{Marcelina Santiago González, Embroiderer}

^{Isabella Gonzáles Silva, Embroiderer}

^{María Juana Morales Silva, Embroiderer}

^{Irma Silva Vásques, Embroiderer}

^{Virginia Santiago Vásquez, Embroiderer}

^{Francisca González García, Embroiderer}

^{Victoria Silva Ortiz, Embroiderer}

^{Hilán Cruz}

^{Nahua Communities of Tlacomulco de Huauchinango, Atla Pahuatlán and Naupan, Puebla}

^{Hilán Cruz Cruz, Weaver}

^{Nicolaza Cruz Vargas, Weaver and Embroiderer}

^{Anahí Cruz Cruz, Weaver}

^{Guadalupe Cortés Sánchez, Embroiderer}

^{María Robertina Rafaela Vargas Vargas, Embroiderer}

^{Alicia Téllez Ortíz, Embroiderer}

^{Beatriz De La Cruz Hernández, Weaver}

^{Lorena Cruz Vargas, Embroiderer}

^{María Dominga Hernández, Weaver}

^{Amelia Cruz Vargas, Embroiderer}

^{Herminia Vargas Marín, Embroiderer}

^{Eugenia Ixtlahuaca Hernández, Embroiderer}

^{Pedro Meza - La Casa de la Comunidad de las Tejedoras Mayas}

^{Mayan Communities from Los Altos de Chiapas}

^{Project Coordinator: Pedro Meza Meza, Weaver}

^{Petrona Gómez Girón, Weaver}

^{Victoria Pérez Pérez, Embroiderer}

^{Rosa Díaz Gómez, Tejedora}

^{Margarita Gómez Gómez, Embroiderer}

^{María Sánchez Vázquez, Weaver}

^{Andrea Patixtán Girón, Weaver}

^{Zenaida Aguilar Pérez, Design Assistant}

^{Jorge Hernández Hernández Production Assistant}

^Savoir-faire

^{Photo 1}

^{Fátima Vázquez Méndez working on a Dior piece}

^{Photo 2}

^{Mtra. Sodelva Espinoza Gutiérrez with her three daughters. Micaela Jiménez Espinoza,}

^{María Fernanda Jiménez Espinoza, Luz Del Carmen Jiménez Espinoza}

^{Photos 4 And 5}

^{Victoria Pérez working on a Dior piece}

^Scenography

^{José Clemente Orozco, La Ley y la justicia, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Jehová entre pobres y ricos, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, La Libertad, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Basura Social, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, El acecho, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Los aristocratas, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Educación, 1924 - 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Alcancia, 1923 - 1924}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Revolucionarios, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Trabajadores, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, La despedida, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, La familia, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Mujeres, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Sepulturero, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, La bendición, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Los ingenieros, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Espada y girnalda, 1926}

^{©Adagp, Paris, 2023}

^{José Clemente Orozco, Girnalda, 1926}

^{José Clemente Orozco, Hoz y martillo, 1926}

^{José Clemente Orozco, Girnalda, 1926}

^{José Clemente Orozco, Hombres que beben agua, 1926}

^{José Clemente Orozco, Constructores, 1923 - 1926}

^{José Clemente Orozco, Ornamentos, 1923 - 1924}

^{José Clemente Orozco, Franciscanos, 1923 - 1924}

^{José Clemente Orozco, Razas aborigenes, 1923 - 1926}

^{José Clemente Orozco, Cortes y la Malinche, 1923 - 1926}

^{José Clemente Orozco, Maguey, 1923 - 1926}

^{José Clemente Orozco, Cruz y serpiente, 1923 - 1926}

^{José Clemente Orozco, Juventud, 1923 - 1926}

^{José Clemente Orozco, Huesos, 1923 - 1926}

^{José Clemente Orozco, Franciscano, 1923 - 1924}

^{José Clemente Orozco, Razas aborigenes, 1923 - 1924}

^{José Clemente Orozco, Sín título, 1926}

^{José Clemente Orozco, Banquete de los Ricos, 1923 - 1924}

^{José Clemente Orozco, La trinidad revolucionaria, 1923 - 1924}

^{José Clemente Orozco, Maternidad, 1923 - 1924}

^{José Clemente Orozco, Destrucción del viejo orden, 1924 - 1926}

^{José Clemente Orozco, La trinchera, 1924 - 1926}

^{José Clemente Orozco, La huelga, 1924 - 1926}

^{José Clemente Orozco, Educación, 1924 - 1926}

^{Fernando Leal (1896 – 1964)}

^{Los Danzantes de Chalma, 1923-1924, Encásustica}

^{Diego Rivera}

^{Centro, alc. Cuauhtémoc, c.p 06000 Mexico City.}

^{Fashion Curator specialized in Frida Kahlo and Mexican Savoir Faire}