Dior’s Fall 2023 show at Mumbai’s Gateway of India is a reminder to champion the country’s craftsmanship

Steeped in heritage but with a step towards the future, the luxury label’s collection featured versatile and wearable but familiar silhouettes

To some, India might seem like a far-flung destination for the launch of Dior’s Fall 2023 collection, but the subcontinent’s association with the French luxury house dates back to 1947, when Christian Dior first encountered the sari. The book, Dior Impressions: The Inspiration and Influence of Impressionism at the House of Dior by Florence Müller discusses Dior's fascination with Indian textiles and how it influenced his designs. Dior's earliest connection to India and the sari can be traced back to the 1940s and 1950s, and by his final collections, he recognised the necessity for a more adaptable silhouette. To achieve this, he crafted chemises, slender tunics and wraps reminiscent of saris.

It wouldn’t be the first or last time for the sari—or India—to play muse. Hermés launched limited-edition saris in 2011, and Chanel and Saint Laurent have both been influenced by the versatile garment’s drape, textiles and colours, While Alexander McQueen's 2018 Pre-Fall collection featured a range of garments inspired by traditional Indian textiles and embroidery, Valentino collaborated with Indian artisans to embroider chikankari on dresses and jackets for its Spring 2016 collection. 

Maria Grazia Chiuri, Creative Director of Women's Collection at Dior, has a rich history with India that extends beyond her current visit to Mumbai. On an Instagram post, the designer notes she met with Nehal Shah of Chanakya International (a global export house based out of Mumbai specialising in embellished garments and accessories) in 1992 in Italy when his father, Vinod Shah, tasked him with scouting out opportunities for the atelier’s expansion. The partnership continued throughout Chiuri's tenure at Fendi and Valentino before she ultimately landed at Dior.

This partnership has allowed Chiuri to understand the potential of embroidery as an art form, and she continues to work closely with Shah and his sister, Karishma Swali, Artistic Director of Chanakya. Intriguingly enough, Chiuri has long been a champion of artisans and their craft and recognises the value and importance of their contribution to the world of fashion. Her own experiences, as the daughter of a seamstress who initially discouraged her from pursuing a career in fashion, have undoubtedly shaped this perspective. “A lot of critics recognise embroidery as décor,” Chiuri said on the eve of the show. “They give value to the construction [of the outfit]. But everything has a value.” 

A meaningful collaboration

Collaborating closely with Swali, Chiuri has developed a shared language of craft that has culminated in 50 collections from Dior. Despite the challenges inherent in re-imagining age-old techniques, Chiuri and Swali’s dedication to crafting a language for embroidery that is both relevant and contemporary has shone a global spotlight on the importance of craftsmanship. “Dior is obsessed with heritage,” she says, making it clear that Chiuri's efforts are not merely focused on the present moment but on preserving these techniques for generations to come.

Speaking about the collection, Chiuri confesses it’s a very emotional time for her—neither Swali nor her predicted this outcome. It’s a dream they both harboured for 25 years. The “collection is dedicated to the long-standing relationship with India and the exploration of century-old techniques. Chanakya’s ability to experiment with embroidery techniques from India’s various regions has allowed me to understand the potential of embroidery as an art form,” Chiuri posted earlier this week. 

A spectacle to behold

Dior's commitment to promoting and supporting Indian artisans has been evident in their previous collections as well. But on the night of 30th March, against the backdrop of Mumbai’s Gateway of India, a symbol of the city's colonial past and its modern-day resurgence as a thriving metropolis, the luxury house showcased a collection that seemed like a shout-out to not only the country but the millions of artisans who have worked to create designs for numerous European luxury labels. 

“Normally, a fashion show is [around] 10 minutes—super short,” says Chiuri. “Nobody knows what’s behind handmade outfits. We want to show what is really behind fashion.” Ahead of the show, the two brands opened the doors of Chanakya’s ateliers to members of the press for an exclusive Dior retrospective of curated pieces from the French Maison’s couture and prêt-à-porter collections made in collaboration with Chanakya; Swali described the work as “fragile, poetic and contemporary.” On display were dresses with embroidery made using a single thread, a jacket from the Cruise collection made using Raffia, and a beaded Lady Dior, amongst others. At another part of the studio was a “living museum” where ustads or master artisans showcased 12 schools of craft—aari work, zardozi, weaving, block printing, lace making and more.

The show itself was a veritable feast for the eyes. Against the backdrop of the Gateway of India, a 46-foot-tall site-specific archway replicated the arch of the monument. It was embellished with a rendition of a decorative toran—typically found at the entrances of houses—where a base of natural fibres featured mirror work, kantha, phulkari and other knotting techniques. Swali notes that making the toran is a community activity for women, and dates back centuries.

This particular toran was imbued with the skill of the Chanakya School of Craft, established in 2016 to support the next generation of female artisans, with Chiuri instrumental in creating the curriculum of an international standard. The toran incorporated a staggering 300 different craft techniques. Each artisan contributed their own symbol of luck, imparting a communal spirit to the piece and a welcoming energy that perfectly encapsulated the spirit of Dior's collaboration with India.

The big night 

On either side of the runway were floor panels with flowers embedded to imitate a rangoli design. A bevy of models—women from all over the world, including India—took the runway to the beats of tabla maestro Anuradha Pal. A stone’s throw away, the Taj Mahal Palace was an equally unmissable spectacle, majestically lit in the hues of the Indian tricolour.

As the models walked the length and breadth of the space, the Indian audience members were greeted with familiar silhouettes—silk lungis with half-tucked shirts; black jackets with embroidered tigers in beads and sequins, evocative of various embroidery techniques in metallic thread, including zardozi, but made contemporary; crisp tunic shirts; and vibrant, voluminous skirts with embellished crop tops reminiscent of lehengas. The drapes and pleats on dresses largely mimicked the sari. “A bralette would have been nice,” lamented a stylist, while others commented on the craft of Indian designers.

The use of saturated colours, intricate designs and luxurious fabrics on structured jackets, mod dresses, and tailored trousers were among the selection of apparel on display. Dior’s iconic Bar Jacket got an Indian makeover, too, with a Nehru-style collar and a slimmer silhouette. Motifs of monkeys, tigers, banyan trees and peacocks adorned the toile de Jouy prints—a throwback to France’s long-standing admiration of Indian chintz imports. 

If this was Dior’s celebration of India, for many, it was a reminder of the history and rich  heritage of our country’s textiles and designs, often overlooked by us. The subtle references and resemblances were in tune with Chiuri’s vision of a minimal, versatile and wearable Dior that is steeped in history, but with a step towards the future.

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