Maria Grazia Chiuri Is Leaving Dior

It’s the end of an era. After a nine-year run as Dior’s creative director of women’s haute couture, ready-to-wear and accessories collections, Maria Grazia Chiuri is leaving the French luxury house.

“Christian Dior Couture announces that Maria Grazia Chiuri has decided to leave her position as creative director of women’s haute couture, ready-to-wear and accessories collections,” the house said in a statement on Thursday.

“I extend my warmest thanks to Maria Grazia Chiuri, who, since her arrival at Dior, has accomplished tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior, which allowed her to design highly desirable collections,” Christian Dior couture chairman and CEO Delphine Arnault said. “She has written a key chapter in the history of Christian Dior, greatly contributing to its remarkable growth and being the first woman to lead the creation of women’s collections.”

“I would like to thank Monsieur Arnault for placing his trust in me and Delphine for her support,” Chiuri said. “I am particularly grateful for the work accomplished by my teams and the ateliers. Their talent and expertise allowed me to realise my vision of committed women’s fashion, in close dialogue with several generations of female artists. Together, we have written an impactful chapter of which I am immensely proud.”

A successor has yet to be announced. This comes after Dior appointed Jonathan Anderson as its artistic director of men’s collection in April, succeeding Kim Jones, who exited in January.

The Italian designer began her career at Fendi in 1989 as a handbag designer and moved to Valentino in 1999 as an accessories designer before being promoted to co-creative director alongside Pierpaolo Piccioli in 2008. She was appointed at Dior in 2016, becoming its first female designer since the house was founded in 1947 – she succeeded Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano and Raf Simons.

Her debut collection for spring/summer 2017, inspired by fencing, featured slogan tees, which read “We should all be feminists”. That set the tone for her tenure, which consistently referenced women’s empowerment. “The message, really, is that there is not one type of woman,” she told Vogue Runway at the show. Over the years, Chiuri has collaborated with several female artists for show sets, including Judy Chicago, Faith Ringgold, Eva Jospin and Mickalene Thomas. In the Dior spring/summer 2025 show, Italian artist and competitive archer Sagg Napoli shot arrows at a target as the models did their circuit.

Chiuri also consistently drew on the archives beyond Christian Dior’s era. “Monsieur Dior only [lived] 10 years. It can’t only be about him!” she told Vogue Runway at her debut show. “In some ways, I see myself as a curator of the house.” For example, in 2018, together with CEO Pietro Beccari, who was appointed in 2017, she relaunched the Saddle Bag, one of the house’s iconic bags from the Galliano era. For autumn/winter 2024, she paid homage to Marc Bohan’s invention of the Miss Dior line, and notably the opening of a (now defunct) Miss Dior boutique in 1967, as a way to offer ready-to-wear to couture clients. “I’m very fascinated by this collection and this moment of Mr. Bohan’s history,” she told Vogue Runway. The Dior autumn/winter 2025 show had “Dior-isms”, including nods to Galliano’s Saddle bag and J’Adore Dior T-shirts and to Gianfranco Ferré’s white shirts, according to Vogue Runway.

The designer has navigated the course through the whirlwind of runway shows, including women’s ready-to-wear couture, cruise, and even pre-fall shows (such as the one in Mumbai, which highlighted the works of artisans, and most recently in Kyoto). It all translated into enormous commercial success. Dior couture sales went from €2.2 billion in 2017 to €9.5 billion in 2023, per HSBC. Dior isn’t immune to the wider luxury slowdown, though. In 2024, sales decreased to €8.7 billion, according to HSBC. And in the first quarter of 2025, sales of LVMH’s fashion and leather goods division were down 5 per cent. Dior hired Benedetta Petruzzo as managing director, who took up the role on 15 October, reporting to Delphine Arnault, and Pierre-Emmanuel Angeloglou as deputy CEO in April.

In her downtime, as a personal project, Chiuri has been restoring a historic theatre, Rome’s Teatro della Cometa. The Dior resort 2026 show, held on Tuesday, was “a heartfelt, nearly all-white celebration of Rome, her birthplace”, according to Vogue Runway. It was her last show with the house.

Pierpaolo Piccioli Has Been Named Creative Director At Balenciaga

Pierpaolo Piccioli will succeed Demna at the creative helm of Balenciaga, parent company Kering announced today.

“This is a new moment for fashion, and you can change the rules only from the inside. I think we can deliver a new image of fashion that is about assertiveness, humanity and intelligence, which is not granted very often. Balenciaga already exists in a community. I want to embrace that community and the spirit of Balenciaga, to make my own chapter in the same story,” Piccioli told Vogue Runway and Vogue Business global director Nicole Phelps earlier today.

The fashion industry has been eagerly awaiting the announcement since Demna was appointed creative director of Gucci in March 2025. Piccioli’s appointment at Balenciaga comes over a year after the Italian designer stepped down from Valentino. His appointment is effective 10 July, right after the last couture show of Demna at Balenciaga, but it’s understood that he will start working on his first collection before. The first Balenciaga collection under Piccioli’s creative direction will be unveiled in October, according to the release.

“He is one of the most talented and celebrated designers of today. His mastery of haute couture, his creative voice and his passion for savoir-faire made him the ideal choice for the house,” Francesca Bellettini, deputy CEO of Kering, said in a statement shared by the company.

Piccioli’s aesthetic is quite different from that of Demna, therefore, his appointment could be seen as signalling a potential shift in the house’s strategy. Piccioli, however, suggests continuation: “I want to embrace the past, because I feel that it’s very important to have respect for what Nicolas [Ghesquière] and Demna did before me. The story of Balenciaga is a story of designers that I respect. This is more a passing of [the] torch rather than a game of chairs, and I feel very lucky to be a part of it,” he told Phelps.

Piccioli went on to talk about feeling a connection to Cristóbal Balenciaga and his work: “I come from a very small place, as Cristóbal did, and understand that doing a job you love is a privilege.” He added, “Cristóbal was delivering himself through his job. If you think about his silhouette, his shapes – he did creativity as a culture and was always disruptive.”

The Italian designer grew up in the resort city of Nettuno, studied literature at Rome University, interned at Brunello Cucinelli and after graduation, joined the team at Fendi with Maria Grazia Chiuri. He joined Valentino in 1999 as an accessory designer alongside Chiuri. The duo were appointed co-creative directors in 2008, after Valentino retired and Alessandra Facchinetti vacated after just one year in the role. The creative pair hit a winning streak. “Their couture shows were as sublime as their rock stud shoes were clever,” wrote Phelps back when the house confirmed Chiuri’s departure. In 2016, Piccioli took on the role of sole creative director, following Chiuri’s departure for Dior. His first collection in October 2016, after Chiuri left, “revealed the unbridled romanticism and fantasy of Piccioli’s singular vision,” Hamish Bowles wrote at the time.

At Valentino, Piccioli also impressed the fashion world with his skills as a couturier, which is a major asset given Balenciaga returned to couture in 2021, as well as with his ability to modernise a heritage brand. Speaking with Luke Leitch in 2011 about how he and Chiuri approached the legacy of Valentino Garavani, Piccioli said: “We keep the language, but change the attitude.” This is a precious skill for Balenciaga, where the designer will be able to draw on founder Cristóbal Balenciaga’s rich and relatively untapped archives. In September 2024, Balenciaga’s exhibition at Kering’s headquarters, titled The Subtleties of a Dialogue, marked the first time Balenciaga’s archival creations were showcased alongside those of Demna.

There’s a bit of a Kering subplot in the appointment too: in 2012, Valentino was acquired by Qatari investment fund Mayhoola for €700 million, per Reuters. Then, in July 2023, Kering announced the acquisition of a 30 per cent share in Valentino for a cash consideration of €1.7 billion. The deal includes the option for Kering to acquire the rest of the brand by 2028. At the time of the acquisition, when Piccioli was still at the creative helm, Pinault described Valentino as “a unique Italian house that is synonymous with beauty and elegance”. Valentino’s revenues in 2024 amounted to €1.3 billion, just slightly behind Balenciaga.

Kering doesn’t break down sales of its Other Houses division, which includes Balenciaga alongside brands like Alexander McQueen and Boucheron. According to Morgan Stanley estimates, however, Balenciaga sales hit €1.66 billion in 2024 (up from €360 million in 2015, when Demna took the creative helm). The controversy around two ad campaigns released in late 2022, which were seen as being suggestive of child sexual abuse and pornography, dealt a blow to brand revenue. Then followed the global luxury downturn. But a slow recovery appears to be underway: “Balenciaga delivered robust growth in leather goods, fuelled by the success of recently launched handbags, but the house is not immune to weak traffic conditions,” Kering CFO Armelle Poulou said during the group’s first-quarter earnings call. Balenciaga recently bolstered its management: it promoted Nathalie Raynaud, who was instrumental in the success of the house’s handbags like the Rodeo, as deputy CEO. CEO Gianfranco Gianangeli took on his role in January.

He appears to be a reassuring choice, which could benefit the group, especially after investors’ initial reaction to Demna at Gucci.

His first collection for Balenciaga will be presented during Paris Fashion Week at the spring /summer 2026 shows, joining the lineup of designer debuts that includes Matthieu Blazy at Chanel, Duran Lantink at Jean Paul Gaultier, and, of course, Demna at Gucci.

“His creative vision will thrive, and he will perfectly interpret the legacy of Cristóbal Balenciaga, building on the house’s bold creativity, rich heritage and strong culture,” Gianangeli said in a statement. “With the expertise of our teams and the dynamic creative energy that has historically driven Balenciaga, I look forward to what we will build together.”

“I’m ready. I had enough rest, so I’m ready to start,” Piccioli said.