The collection featured timeless silhouettes that have stayed intact through time, allowing Chiuri to redesign her favourite models. The colour palette was dominated by shades of green, yellow, pink, and purple. A colour block sequence, paid tribute to Marc Bohan, who traveled to India in 1962 to unveil a hundred or so silhouettes in Mumbai and Delhi. The collection also included sari-inspired straight skirts and traditional Indian cuts, as well as pants, little boleros, jackets, and brassieres, highlighting a sartorial genealogy defined by different heritages and fashion cultures.
Embroidery played a significant role in the collection, becoming a tool for appraising the multiple landscapes of India and showcasing the various techniques that become the realm of a women's patrimony and an instrument of inventiveness and empowerment. Geometric shapes framed the gold and silver sequins or strass, while decorative motifs came forth in a kaleidoscope of colours. The toile de Jouy was enhanced by elements of Indian scenery, and the Jardin Indien floral drawing punctuated the silk of pyjamas, shirts, and dresses.
The collection evolved like a dialogue, in which the collaborative dimension expressed itself more than ever in a multi-vocal manner, thanks to exceptional savoir-faire. Reflected in a complex pieces of embroidery, it illustrated a tridimensional topography moulded by the meeting and interweaving of plural cultural legacies.
Chiruri payed homage the beauty and richness of Indian craftsmanship, while also highlighting Dior's commitment to celebrating different types of savoir-faire and empowering women through fashion. Her constant collaboration with the Chanakya School of Craft is a testament to the power of collaboration and the importance of honouring cultural connections in the world of fashion.