From romance to punk: Highlights of Dior's cruise 2025 collection in Scotland

Amid the lush greenery of Drummond Castle Gardens in Perthshire, Scotland, Dior unveiled its cruise 2025 collection, weaving themes of romance, darkness, and mythology into the fabric of its designs. The collection featured kilts, black leather gloves, and nods to the medieval unicorn tapestries that have long inspired creative director Maria Grazia Chiuri.

This marked Dior's first show in Scotland in nearly seven decades, the last being at Gleneagles Hotel in 1955. This time, the focus was clear: honoring Scotland’s rich heritage while maintaining the distinct identity of the Dior brand. The collection included 89 looks described by the brand as “a poetic invitation where past and future meet, celebrating the unique, powerful ties forged from the very beginnings of the house, for the autumn-winter 1947 défilé.” Chiuri drew inspiration from Clare Hunter’s book "Embroidering Her Truth: Mary, Queen of Scots and the Language of Power," reimagining Dior’s classic gowns and skirts for a contemporary Mary Stuart. Homages to Monsieur Dior were evident in black and white photos from his 1955 show, which adorned coats and tops.
The collection revived the romantic essence that has been missing from recent fashion seasons. Delicate lace outfits were paired with leather corsets and choker necklaces, while floor-length gowns flowed gracefully down the grand stone staircase. A sense of formality was present, with layers of necklaces complementing long black checkered dresses, small traditional bags, and sturdy boots. Ethereal whites contrasted with Gothic elements: tartan, sculptural skirts, medieval puff sleeves, black lace, and hardware belts showcased a new dimension of Chiuri’s design approach.

The show opened with royal purple and black tartans, transformed into punk-inspired dresses and skirts. This was followed by scarlet tartans and mini dresses with dramatic sleeves. Reflecting Chiuri's exploration of feminism through slogan clothing, pieces featured words like “nag,” “emotional,” “bossy,” “feisty,” “moody,” and “hysterical,” derived from illustrator Pollyanna Johnson’s work and embroidered in traditional sampler style. The collection's playful spirit extended to its accessories, with models sporting pearl chokers, hair pearls, belts, harnesses, hoods, bracelets, embellished bags, berets, veils, and argyle knee socks.
Juxtaposition was a key theme: heavy coats paired with sheer outfits, unzipped leather jackets with long flowing dresses, and high-low cuts with trains. Lace inset dresses and pearl-netted veils added a dark romantic touch. Scottish designer Samantha McCoach of Le Kilt collaborated with Dior on some kilts, while local materials like Harris Tweed, Esk Cashmere, and Shetland yarns were used. The Scottish label Robert Mackie contributed ceremonial headpieces to the collection.

In the season of opulent resort shows, Dior’s Scottish venture stood out as a true celebration of place. The cinematic setting was enhanced by the finale, where Scottish bagpipers in traditional attire marched down the garden runway, playing a haunting, atmospheric tune to conclude the show.