By: Addison Wylie

It goes without saying that Christian Dior makes deluxe products for an 
elite clientile, and it doesn’t take a genius to see their elegance at
 first glance.  I suppose this is why some were struck with bewildered
 awe when minimalist designer Raf Simons was asked to take the role as
 artistic director for Dior’s Haute Couture collection.  Simons, a
 proper and modest visionary according to Frédéric Tcheng’s documenatry,
 never takes the opportunity for granted, and is able to keep his 
composure as he eyes his project’s tight deadline.

Dior and I’s energy doesn’t exit its heady phase of entitlement, which 
Dior moviegoing consumers will love and will leave newcomers
 feeling left out.  What’s important to note, however, is how accesible the doc 
is and how open the company was towards Tcheng’s film.  The
 excitement may be geared more towards fashion fanatics, but general 
audiences will be able to comprehend the posh passions.  We’ve had recent
 documentaries fill audiences in on geekdom, modern day finances, and the crumbling economy, yet most filmmakers have failed to include patrons who may be outside of the loop.  For Tcheng to
succeed using high profile fashion is a huge accomplishment in my
 books.  His swift editing also fits amongst the sophistication.

While Dior and I may not be anything too groundbreaking for its genre, you’ll be glad you took Frédéric Tcheng’s interesting insider tour.