Presenting the Dior Fall 2025 show in the backdrop of Kyoto’s Toji Temple, the brand focused on the strong relationship the fashion house has shared with Japan for over 70 years. The collection, designed by Maria Grazia Chiuri, brought attention to traditional Japanese craftsmanship and the people who have helped shape that bond. Highlighting this partnership, Ms. Chiuri collaborated with local artisans whose work connects the past with the present.
The collection was built on connections first established in 1954, when Christian Dior collaborated with Kyoto’s Tatsumura Textile, one of the city’s most respected silk weaving workshops, that has been operating in Kyoto since 1894. This season’s garments featured fabrics from the same atelier, including textiles based on archival motifs chosen by Mr. Dior himself over 70 years ago.
Ms. Chiuri also worked with kimono dyeing master Tabata Kihachi, inviting him to bring his own style to the cherry blossom motif originally used in the Japanese Garden outfit from Dior’s Spring-Summer 1953 collection. The master, in turn, used his Kyo-Yuzen technique passed down through generations. His version isn’t a replica, but a continuation, layered with years of skill and cultural knowledge.
The Fukuda family, who run a dyeing and embroidery research institute, also contributed to the collection. With three generations of experience, they continue to adapt traditional Japanese textile methods while staying true to their origins. Their contributions stood out for their complexity and bold color choices.
Accessories were also shaped by local traditions. Tokyo-based artisan Sawa Voughters-Oliner reinterpreted the traditional kasa hat, commonly worn during dance festivals. For Dior, she added a black braid to the design, giving it a modern look without taking away its original purpose and history. The kasa, once worn for sun and rain protection by workers and travelers, became part of Dior’s visual storytelling. These small but intentional touches grounded the show in a real cultural exchange, not just visual inspiration.
Monsieur Dior’s interest in Japan started long before these collaborations. In his memoirs, he described how Japanese prints of Utamaro and Hokusai hung in his childhood home in Normandy: “Large panels painted in imitation of Japanese prints adorned the whole staircase… I can remember gazing at them for hours on end…”
This early fascination continued into his work. In the Fall-Winter 1952 Christian Dior-New York line, he named a dress “Tokio.” The next year, the Japanese Garden ensemble appeared in the Spring-Summer 1953 haute couture collection. In 1954, Dior created an outfit titled “Outamaro,” made with Japanese brocade from Tatsumura Textile.
Dior was one of the first Western fashion houses to show collections in Japan. In 1953, the brand presented its Fall-Winter line in Tokyo, Osaka, Kyoto, and Nagoya. Japanese clients quickly embraced the Dior look, balancing their cultural customs with an openness to modern design. That same year, Dior gave local companies access to patterns from its Paris headquarters, helping establish a strong foundation for the brand in Japan.
By 1958, the connection had become more personal. Mr. Dior designed three dresses for the civil wedding of Princess Michiko, the future Empress of Japan. This love has continued over the years as future creative directors of Dior have continued to draw from Japanese references.
The Dior Fall 2025 collection involves the use of precious fabrics, such as silk, rendered in stunning prints of Japanese gardens. Wide pants and long skirts undulate with every step and movement. Silhouettes are shapely. Overalls have a practical kimono collar, giving them a modern, stylish look.
While the black is deep, floral patterns dominate the collection in various forms. The last few outfits showed intricate, beautiful high-relief embroidery, depicting gentle cherry blossoms in realistic 3D styles.
For Fall 2025, Dior also supported KYOTOGRAPHIE, the international photography festival in Kyoto. The Maison highlighted the work of Graciela Iturbide, continuing its commitment to art beyond fashion.
This latest ready-to-wear show in Kyoto wasn’t just about a new collection. It was about showing how relationships built over time—through shared values, technique, and respect—can keep growing, even in the fast-paced world of fashion.
