Critical analysis uncovers selective feminist recovery alongside unarticulated aristocratic land politics in Dior's Cruise 2025 show, highlighting tensions between fashion and landscape.
This essay examines Dior’s Cruise 2025 collection at Drummond Castle, Scotland, as a negotiation between feminist recovery and historic landscape. Maria Grazia Chiuri foregrounded women’s histories through references to Mary Queen of Scots, tartan, embroidery, and regional craft, while the garden’s histories of estate power, conflict, labor, and exclusion remained unarticulated. Its geometry, controlled access, and prestige shaped both the invited audience’s embodied experience and the cinematic spectacle created for online viewers. Reading garments, choreography, landscape, and media framing together, the essay argues that gender politics were made explicit while the garden’s politics remained materially active but critically unaddressed.
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Chan et al. (2026) studied this question.
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