Coming Soon

DIOR AND I

Coming Soon
Shown in The Backlot!
DIOR AND I
Friday, May 1
90 minutes / Not Rated
Directed by: Frédéric Tcheng
Cast: Raf Simons, Marion Cotillard, Anna Wintour, Sidney Toledano and Pieter Mulier

In 2012, legendary French fashion house Christian Dior Couture announced the appointment of designer Raf Simons as its head Creative Director. Dior and I takes a privileged, behind-the-scenes look at the high stakes, high tension makings of Simons’ debut haute couture collection and how it returned to the origins of the house of Dior. The film also takes an intimate, cinema vérité-style glimpse at the inner workings of the Dior atelier, capturing the entire eight-week process up until the premiere of Simons’ collection. Some of the atelier workers—the heart and soul of the fashion industry—have sewed for Dior for decades and do so with an unbridled passion. Together, they form a support system for Simons and help to create his masterpiece collection, with every line they sketch and bead they sew. A whirlwind of creativity, stress, determination and triumph, Dior and I marks the third fashion film for writer/director Frédéric Tcheng, who previously co-wrote and co-directed Diana Vreeland: The Eye Has to Travel and co-produced Valentino: The Last Emperor. (Partially subtitled)

Sartorial Sprint
In the fine documentary feature “Dior and I,” a countdown clock is set for eight weeks at the beginning of 2012. That was the startlingly short stretch of time allotted to Raf Simons, the House of Dior’s new artistic director, for the creation of his debut collection, after which, it was hoped, his vision of fashion heaven would open its floral gates. Frédéric Tcheng’s film tracks the collection’s genesis and development with unconcealed admiration—this is hardly the anatomy of a flop—but with a reporter’s sharp eye for detail, and a playwright’s appreciation for suspense. The drama of getting new dresses on the runway turns out to be transfixing, while the hero redefines the notion of intense. - - - JOE MORGENSTERN / The Wall Street Journal