Dior and I2015
Dior and I (2015)
Critic Consensus: Dior and I will obviously appeal to fashion fans, but this beautifully tailored documentary may draw in even the least sartorially inclined.
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Critic Reviews for Dior and I
The movie, not to mention the company, deserves praise for showing the challenges as well as the triumphs; "Dior and I" doesn't shy away from conflicts when they arise. This isn't marketing material. It's a real look at a fascinating line of work.
A few gauzy montages of black-and-white archival footage glorify the fashion house's founder and namesake, providing a welcome interruption to all the self-serving confessionals and stage-managed conflicts.
The documentary offers a privileged behind-the-scenes look at the workings of a business. It's also about the difficulties of the creative process, the running of an organization, and the adjustments that must be made when a new boss is in town.
We get no sense that Simons is invested in the work, or concerned about what's at stake for his personal reputation, or has any insight into what he does with his time to balance what presumably are many other responsibilities and pressures.
If the ungodly star-driven media frenzy that surrounds the spring collections of the great Paris houses like Christian Dior is the public face of designer fashion, "Dior and I" shows us that what goes on behind the scenes is even more intriguing.
Audience Reviews for Dior and I
It offers us an interesting look into the fashion house Christian Dior by showing the backstage of the stressful creation of Belgian designer Raf Simons' first haute-couture collection, yet I guess it will please more those who work in the business and fashion buffs in general.
Could not get enough of this fine documentary, which must help to inspire any creative person wishing to turn their ideas into reality. It is like a manual on how to succeed. Economical, it gives precise insights into the essential creative concepts of the house of Dior, its key workings and personalities. Democratic at least in spirit, it shows the team and the atelier; we see how much of a design and a finished product comes from them, which is in fact a great deal, and is acknowledged as such. The story is technical, intelligent and builds gracefully up to the climax of the fashion show full of emotion and excitement. Along the way, we are shown the tensions of the short deadline, without any trace of hyperbole or hysteria. Dior's legacy is précised; there is a view of his stunning home. The fabrics, designs and models are beautiful, and the show is a spectacle; but the real stars are the collective effort, the love of superb craft, and the organisational skill of all concerned. Anyone who has tried sewing a complicated garment will tell you what a deep well of patience and discipline is needed, and how big therefore is the achievement of the atelier. Not only are there great profits and reputation at stake; everything depends on the participation of everyone. It is a recommendation for the longevity of a person's work and a job for life. We are not told how the profits are shared or what the politics of the house of Dior might be: the fact that mentioning these seems indelicate might of itself say something; and of course they would not be irrelevant in real life. Still, the film should be an object lesson for any management course in organizational behaviour; the Taylorist MBA in particular would benefit (no pun is intended). As a depiction of haute couture, it goes without saying that this film is everything that the recent Laurent film was not. By all means take your son or daughter along with you here; it can only assist their careers, their ability to work with others, their capacity to follow through; and their good taste in people, ambience and clothing. French perfection, with both substance and style.
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