Step into the fun, fancy and wild imagination of Raf Simons in the new fashion documentary, Dior and I.

Last year, the prestigious house of Christian Dior opened its doors to newest creative director and minimalist Raf Simons, catapulting the viewer – through film – into the tumultuous, tireless and amazing 6 weeks before Fashion Week.

All set under the faced-paced roof of Dior HQ, the documentary is pushed feverishly forward by the impending deadline of the collections launch at fashion week, and depicts the enormous amount of pressure put on Simons to deliver, as well as the ateliers.

The film creates a sense of energy and pulse to the brand, with the documentary constantly referring to the sense of energy, and inner pulse of the supposedly haunted building. Resonating from the bottom floor of the ateliers, reverberating through the push and whirr of their sewing pedals and all the way to the roof of the building, the documentary highlights how the Dior building is alive with activity and how the presence of its creator is still felt to this day.

Dior And I plays homage to its beginnings through the juxtaposition of the original Dior and its modern day counterpart through archive imagery, and was definitely a credit to writer and director Frédéric Tcheng. The references between the original and his predecessor were intricately woven (sewing pun intended) into the storyline, highlighting the similarities of Simons and Mr. Dior through well-placed voice over as due dates loomed.

The most poignant and impressive part of the film was the final runway scene. With walls literally covered head-to-toe in fresh flowers, the energy and excitement of the show consolidated the film into a neat bundle of heightened exhilaration, tears and famous faces.

The beauty of the documentary, apart from the amazing labour-ridden garments, was the way in which true emotion was shown. The audience gets a true sense of the heartache, the stress, and the excitement of Simons and his team. Something that is normally reconstructed for the camera, was in this instance, inexplicably real. You could not fake the “characters”.

Words can’t describe the affirmation I have for Simons and Tcheng, whose amazing cinematography made Dior and I just so enjoyable. To pinpoint the reason on the ever-present humour of the ateliers, or artistic genius of Simons and his colleagues, or the beautiful references to Dior’s past, is to depart my experience from all the other amazing elements that made this film just so good.

The film seamlessly rids itself of the fashion-documentary label through its clever marriage of documentary and illusionary film elements, along with the close profiling of the characters. Through these, the film becomes almost less about the creation of fashion, and more about the journey of the Dior machine and all its cogs.

For any individual who has a keen interest in the fashion world or who just loves to be transported to the realm of couture, Dior and I is definitely a film to see.


Dior And I is in cinemas now!