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.