What is craft without purpose? For Dior’s Maria Grazia Chiuri, you can’t have one without the other. In her eight years at the house, the designer has supercharged the conversation around savoir faire, re-energising house traditions and forging new creative collaborations. But for Chiuri, the point of all that artisanship isn’t to justify a designer price tag. She sees craft as a force for good and a way to uplift artisans and their communities.
Since Chiuri’s debut at Dior in 2016, she has thrown the weight of one of the world’s biggest luxury houses behind a desire to create feminist ways of working, living and sharing, as well as dressing. How things are made matter to her.
The beating heart of craft at Dior is found in its Paris couture ateliers, where a commitment to beauty, excellence and handmade perfection is paramount. Here, teams of petit mains pour a lifetime of experience into what they produce, with skills passed down through generations. For Chiuri, this is where everything starts, and she’s hands-on. “For me, the atelier is part of my job. The other designers used to work only with the sketch, I don’t. To see what is possible and what is not, I do that in the atelier,” she told me when I visited Dior’s ‘flou’ and ‘tailleur’ ateliers for 10 back in 2019.
from left: Mitzah scarf by DIOR; Book Tote bag by DIOR
We’ve spoken on several occasions since and each time the conversation has gone back to the importance of savoir faire – the combination of confidence and ability – and Chiuri’s purposeful way of using it. Radiating out from that Paris atelier are the specialist factories in Italy and Spain that produce the brand’s bags and shoes. Its catwalk jewellery, designed by Chiuri, is produced in Italy and Germany. In these ateliers, the knowledge of generations of specialist artisans is brought to the task of realising the designer’s ideas. The famed Lady Dior bag, for instance, is assembled by hand in Florence from 150 separate pieces. The lambskin version pictured on these pages goes through five major stages. After skin selection, cutting, assembly and final stitching, the last stage is euphemistically called ‘pampering’, where the bag is primped and perfected before being sent to stores.
from left: Dior Tribales earrings by DIOR; Lady Dior bag by DIOR
Further afield are the specialist international ateliers Chiuri has worked with on her globetrotting resort and pre-fall shows. The designer sees these travelling shows as an opportunity to forge new relationships, share ideas and create mutual benefits with craftspeople whose values are kindred with Paris couture.
“Craft is really a way to make bridges to communities. We can support each other. I think it’s a language too, one which we can use to communicate. This is possible in fashion, especially for Dior,” she told me in 2022. That year, Chiuri showed her resort collection in Seville and sought out local embroiderers and metalworkers who had previously only worked with churches on altar regalia and garments. “There are techniques I found that I have never seen in my life. This is exceptional. This is haute couture, and it was really an enrichment for me to work with them,” said the designer, who later revisited the Spanish artisans with members of her Paris atelier to further the collaboration.
from left: embroidered J’Adior slingback shoes by DIOR; Dior Chez Moi shirt and shorts by DIOR
Call it the couture equivalent of friends with benefits but Chiuri’s practice of international savoir faire diplomacy is a win-win. Dior deepens its craft repertoire, bringing different and more diverse emotions to its look, while at the same time using its power to uplift specialist artisans and local communities. Whether that’s embroiderers in Puglia, Mexican leatherworkers or African print makers, the designer finds the values of couture in far-flung places. “Couture means having the specific knowledge to create a unique piece with your hands. Where there are people with the skills to create something with their hands, beautiful things, you can find it,” she says.
Taken from 10 Magazine Issue 72 – DARE TO DREAM – out now! Order your copy here.
from left: embroidered Saddle bag by DIOR; 30 Montaigne Bar Jacket by DIOR
from left: D-Joy ballet shoes by DIOR; embroidered jacket and trousers by DIOR
DIOR: SAVOIR FAIRE
Photographer RONNI CAMPANA
Fashion Editor SOPHIA NEOPHITOU
Sittings Editor GARTH ALLDAY SPENCER
Text CLAUDIA CROFT
Model AWORO MAYOWA at Wilhelmina Models
Hair LACHLAN WIGNALL using Shu Uemura
Make-up HELAYNA SHELTON
Manicurist HAYLEY EVANS-SMITH at Saint Luke Artists
Photographers’ assistant CHIARA DOLMA
Fashion assistants GEORGIA EDWARDS, SONYA MAZURYK and JEROME KATENDE KASUSULA
Casting SIX WOLVES