In 1955, Monsieur Dior presented his work in Perthshire, in the ballroom of the Gleneagles Hotel. Now this become the narrative framework for the new Cruise collection, where memories, inspirations and suggestions fuse to generate shapes and embroideries.

Symbols of Scotland, the unicorn and the thistle, provide an unprecedented variation of the Millefleurs motif. They are transposed into heraldic embroidery, recalling the savoir-faire of this exceptional technique, a language in itself. Notably, the very same motifs are part of Mary Stuart’s emblem.

Some of the models in the cruise line include a map of Scotland, sketching a cartography of collaborations and cultural encounters. Photographs from the spring-summer 1955 presentation become part of the design too. In a way, they appear as a montage, transformed into prints or employed as appliques on the edges of kilts or pea coats.

The looks are full of the contrasting elements, such as diverging textures of velvet and lace. Certain silhouettes feature exaggeratedly wide sleeves which, on white shirts, appear under little dresses with gathered skirts and bustiers resplendent with embroidery. 

Tribute to tartan, described by Christian Dior as «the only fancy fabric that resists fashions,» also appears in the collection. Tartan is the common thread running through this veritable celebration of the kilt, whether made directly in Scotland or reinterpreted. This historic cloth, intrinsically characteristic of the region, continues to cross fashions past and present, from romanticism to punk. 

The cruise line also includes dresses conceived in diverse lengths, coats and capes with large hoods, rain boots come and small jackets, which adopt the gray of menswear fabrics. The iconic Bar jacket sports black velvet Brandenburg buttons. 

The velvet magnifies an evening gown, and the feathery woven fishnet transfers into long, lightweight dresses.

All these contrasts and unexpected combinations are made up of interconnected affinities. Once started, the story of Dior and Scotland is presented as a metaphorical journey in which the different stages become the subject of creativity.