Dior Brings a Romantic, Gothic Cruise Collection to Scotland
Against the verdant backdrop of Drummond Castle Gardens in Perthshire, Scotland, Dior presented a cruise 2025 collection that riffed on romance, darkness, and myths. There were kilts, black leather gloves—and references to those iconic medieval unicorn tapestries that have so enchanted creative director Maria Grazia Chiuri.
The last time Dior showed a collection in Scotland was nearly 70 years ago (1955, at the Gleneagles Hotel, to be exact). The ethos this time around was crystal clear: pay tribute to the heritage and history of Scotland while keeping the Dior house codes alive and well. Here, we saw 89 looks framed 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,” according to the brand. Inspired, in part, by Clare Hunter’s book Embroidering Her Truth: Mary, Queen of Scots and the Language of Power, Chiuri reimagined Dior’s classic silhouettes—namely gowns and skirts—for a modern-day Mary Stuart. Meanwhile, a direct tribute to Monsieur Dior could be seen in black and white images from his 1955 show which were splashed across coats and tops.
The result was a collection that brought back the romantic feeling that fashion has so desperately craved in recent seasons. Sheer lace looks blended with leather corsets and choker necklaces, while floor-length gowns swept through the epic stone staircase. An element of formality punctuated the air as cascades of necklaces were paired with long black checkered dresses, little traditional hanging bags, and sturdy boots. If it wasn’t ethereal and white, it was slightly Gothic: tartan, sculptural skirts, medieval puff sleeves, black lace, and hardware belts felt like a different side of Chiuri that fans of Dior haven’t seen before.
An array of royal purple and black tartans opened the show, twisted into punkish dresses and skirts. Next came the scarlet tartans and structured little mini dresses with extreme sleeves. True to the designer’s spirit of playing with the perceived idea of feminism through slogan clothing, Chiuri layered pieces covered with phrases including “nag,” “emotional,” “bossy,” “feisty,” “moody,” and “hysterical.” They were from a work by the illustrator Pollyanna Johnson and embroidered in the style of a traditional sampler. Taking the sense of playfulness one step further, there was also a whimsical and wayward sort of maximalism displayed through accessories. Models wore pearl chokers (and pearls in their hair), belts, harnesses, hoods, bracelets, heavily embellished bags, berets, veils, and of course, argyle knee socks.
Juxtaposition was a throughline in the collection: heavy coats, sheer looks, unzipped leather jackets, long flowing dresses, high-low cuts with trains, lace inset dresses and pearl-netted veils fed the romance narrative with a dark edge. The Scottish designer Samantha McCoach of the brand Le Kilt collaborated with Dior for some of the kilts in the collection, while local materials like Harris Tweed, Esk Cashmere, and Shetland yarns were utilized. Scottish label Robert Mackie contributed the collaborative ceremonial headpieces.
‘Tis the season of luxurious resort shows, for which brands trot their guests all over the globe—and Dior’s Scottish expedition felt like a true celebration of place. The scenery itself was cinematic. To cap off the show, Scottish bagpipers marched down the garden runway in traditional garb, playing a moody, atmospheric tune to close the show.
