On the morning of February 1 last year, imperturbably recovered from a party to mark her departure from Louis Vuitton, Delphine Arnault stepped into her new office in Paris as chairman and CEO of Christian Dior. The eldest child and only daughter of Bernard Arnault - who is, more often than not, the richest man in the world - she had moved up through the ranks of her father’s companies at LVMH over the course of a couple of decades, quietly absorbing every aspect of the fashion business.
Now here she was, at 47, with the crown jewel in her hands: the first fashion house her father had ever bought, the place where he had taken her at weekends as a child, the home of the much-loved Monsieur Dior (as its employees still call him) who, 77 years ago, changed the way women dreamed about their lives. Christian Dior is a name inextricably linked to the history of France - and on that day Delphine Arnault became the first woman ever to be in charge.
Not long afterwards she called her friend Larry Gagosian in New York. “Larry,” she said, “I’ve got this big office. But it’s lonely up here!”
Being a member of the Arnault family, while companionable in many respects, carries its own form of isolation. Close-knit and very private, the Arnaults have been subject to increased public attention since their patriarch parcelled out decision-making responsibilities over the future of LVMH to his five children (via a holding company where they each have a 20 per cent stake). “When you grow up in a well-known family, you don’t have the right to make any mistakes,” Delphine’s brother Antoine explains “People look out for the slightest flaw.”
I first meet Delphine Arnault seven months into her reign at Dior, in the lobby of creative director Maria Grazia Chuiri’s studio in Paris. Discreet in demeanor, fragile-featured, with a composure to match her nearly six-foot height, Delphine greets me in a navy Dior pants-suit. It’s the eve of the spring/summer ’24 show, and models are walking back and forth, small adjustments made, accessories considered. Maria Grazia, clad in jeans and black sweater, sits next to Delphine and introduces a little grey poodle, whose colour, they both note, is perfectly on brand. “It’s gris Dior,” Maria Grazia says.
If, in 1947, Christian Dior was telling a story about women’s lives - the war they’d emerged from, the future they hoped for - then the first two women to lead his company are telling a new one. With Delphine as CEO and Maria Grazia as creative director, the house of Dior is moving into an era in which two busy working mothers are in a position to determine what women wear, how they
