Dior and I Screen 11 articles

Dior and I

2014

Dior and I Poster
  • Dior and I proves an increasingly superficial affair, especially given that the director's attempts at suspense are largely facile—suggestions of thorny conflicts are dismissed as quickly as they're introduced—and Simons's creative process is barely investigated. Still, bolstered by deft editing that keeps the proceedings moving at a light, graceful clip, this behind-the-runway look at one of fashion's legendary brands has a sleek, efficient stylishness in keeping with its subject.

  • It’s a sweet inside portrait that counteracts The Devil Wears Prada-esque depictions of the fashion world as ultimately psychotic and fuelled by ego... Passion rather than power-lust defines Dior and I. Tcheng makes the most of the airy material, crafting it in a representative spirit.

  • Tcheng has a tendency to reflect more than reveal. Which makes the presence of Dior run a tad dry as conceits go. Tcheng’s deep wit and observation makes up for this shallow patch, though. The I of Dior and I, for example, remains subtly, deliberately undefined. It could refer to Raf, hidden by Dior’s fame. Or might it be the seamstresses? Evoking the dynamics of a family, Tcheng perceptively brings the high culture of haute couture a little bit further down to earth.

  • Though the film is unquestionably a flattering portrait of Simons, it is also more broadly, and more fruitfully, a testament to a tradition and to those who have upheld it for decades—and who have as equal a claim on the first-person pronoun in the film’s title as Monsieur does.

  • There have been a glut of fashion documentaries over the past few years — some of them quite entertaining — but none of them have quite come close to matching the terse perfection of Douglas Keeve’s 1995 masterpiece Unzipped. This one comes close.

  • I can’t imagine a more elegantly poised and charming study of a fashion house than Frédéric Tcheng’s Dior and I, a superior film to the Diana Vreeland and Valentino docs he produced. Though utterly conventional in its chronological structure... this is a film that celebrates craft with its own near-perfect craft.

  • Dior and I is a great fashion movie, but it's also a superb picture about the art of management, applicable to any field. Tcheng (the co-producer and editor of another terrific documentary about couture, the 2008 Valentino: The Last Emperor) coaxes out the personality of each player in this little drama with clarity and humor.

  • Dior And I isn’t any kind of hard-hitting exposé. Tcheng—who previously co-directed another style doc, Diana Vreeland: The Eye Has To Travel—is seduced by this exclusive world, and he communicates that allure with undeniable flair.

  • The heart of “Dior and I” is with these seamstresses and cutters, artists in their own right. It’s deeply touching when one of them watches from behind a curtain as a model parades in a dress and says, “I’m going to cry, it’s so beautiful.”

  • Throughout, Tcheng artfully deploys archival footage of Dior, often slowed down and paired with an intimate voice-over narration taken from the designer’s 1952 memoir. The effect is haunting and emotional—which is appropriate, given that Dior and I is essentially a ghost story.

  • Profiling the ups and downs weathered by celebrated menswear designer Raf Simons as he completes his first haute couture collection for Christian Dior, Tcheng exposes the industry’s practical pressures while still permitting beauty to triumph: Simons’s climactic show, through halls veritably papered with spring blossom, is a jaw-dropping spectacle.

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