This collection had serious potential but once again the editing of the pieces and the atrocious styling is a problem. Once Chiuri/Dior stopped working with Karl Templer and once Madame Riviere, the Couture Directrice, left - the collections suffered immensely and also lost that kind of "Parisian" and "French" spirit. Madame was fundamental in the design/editing/selection process, always making sure to include and highlight pieces that captured the original spirit of Monsieur Dior. Instead of keeping key people like this around in her team to strengthen her point-of-view, she chose to incorporate the ideas of her daughter, whose official arrival in the Dior design team coincided with some of Chiuri's worst collections to date.
It is obvious to me that Maria Grazia benefits immensely from having a strong, contrasting (possibly external) voice to offer a different opinion to her ideas. It strengthens and enlivens her work (just look her first Dior collections compared to now - its progressively less French and progressively less referential to the Dior archives). Unfortunately it seems at the moment she has too many people surrounding her, saying "YES" to everything, which results in weak collections such as this.
Allegedly at Valentino, Maria Grazia and Pierpaolo had legendary screaming matches during the design process, witnessed and heard even through closed doors. Nonetheless, it seems these kinds of arguments/discussions, clearly led to some of the best ideas coming to the forefront of their Valentino collections. Interesting, no?