In this blog post, we explore how Raf Simons infused his own unique style into Dior’s heritage through the film ‘Dior and I’.
In my view, and based on what I understand about documentaries, they are films produced with the purpose of conveying information. However, documentaries have directors, and since vast amounts of material cannot be shown as-is, editing is necessary. Furthermore, it’s clear that the filmmaker will intentionally direct the filming to enhance the impact of the message. Therefore, redefining it, “film-based information directed based on facts for effective communication” seems appropriate. Thus, documentaries employ various cinematic techniques not only to convey information but also to provide viewers with emotional and aesthetic experiences. For those with a shared interest in ‘Dior’ and ‘FASHION,’ this documentary was likely fascinating. Above all, ‘Dior and I’ is an exceptionally sophisticated and polished documentary.
‘Dior and I’ transcends a simple fashion documentary, deeply exploring the fusion of creativity and tradition. This documentary details the challenges encountered and the solutions found during the process of unveiling new fashion designs. Particularly noteworthy is its meticulous approach to how Raf Simons harmonizes his minimalist philosophy while respecting the traditions of the House of Dior.
‘Dior and I’ is a documentary chronicling the first collection project undertaken by Raf Simons, former head designer of minimalist fashion icon Jil Sander, upon his appointment as Dior’s head designer in 2012. Minimalism refers to achieving maximum impact with minimal design based on aesthetic principles. Though minimalism caused a sensation in the 90s, it briefly faltered. However, it is widely regarded as having gained renewed strength with the emergence of Jil Sander in 2013. Raf Simons was the head designer at Jil Sander, and the film begins as he prepares to debut his haute couture collection for Dior, the epitome of the women’s New Look. Haute couture, meaning ‘high sewing’ in French, refers to bespoke garments crafted for a select few clients, tailored to their specific needs, rather than mass-produced. Because artistic expression is paramount, there was immense curiosity about how minimalist designer Raf Simons would integrate into this world and what creations would emerge.
This process involves an in-depth analysis of how the history of the House of Dior and Raf Simons’ personal background intertwine. Particularly notable is Simons’ effort to respect Dior’s tradition while proposing a new direction, reminding us once again how crucial the harmony between innovation and tradition is in the fashion industry. The artistic nature and rarity of haute couture, along with the efforts of designers and artisans to preserve it, form the core of this documentary.
‘Dior and I’ features the first-person narration of Dior’s founder, Christian Dior, intercut with archival footage in a cinematic style. With a total of six archival segments, the film can be divided into six acts. These segments provide background knowledge and explanations for upcoming events, enhancing understanding. Act 1 opens in 2012, 55 years after the archival footage, on the day of the welcoming ceremony for Raf Simons as Dior’s new Creative Director. The meticulousness and strictness of the atelier heads inspecting the staff’s attire before meeting Raf underscores Dior’s tradition while simultaneously creating a stylistic contrast with Raf. Furthermore, in Act 3, a match cut transitions from the present, where archive photos are being viewed, to the past, accompanied by a photo caption of ‘Christian Dior’.
This cross-cutting technique goes beyond simply contrasting the two figures; it visually conveys the brand’s timeless continuity and potential for change. This approach vividly shows the audience how the styles of Christian Dior and Raf Simons, two masters, harmonize to carry on the Dior House’s legacy, making it one of the documentary’s greatest strengths.
Dior is presented from a third-person observational perspective. When new characters appear, or conflicts or events arise between characters, the film shifts to an interview format to engage with the individuals and their stories. This third-person structure and interview format enhance objectivity. Furthermore, by the film’s end, the characters of all Dior House employees remain imprinted in the viewer’s mind. This was possible because the focus wasn’t solely on one person, the protagonist ‘Raf Simons’, but gave equal weight to all Dior House employees. I believe this deepened the audience’s understanding of Dior House and also provided objectivity. Most importantly, this direction exuded humanity and made the documentary truly engaging.
A key point to note here is the relationships between people shown in the documentary. The interactions between the designer and the artisans transcend a simple working relationship, revealing the essence of collaboration needed to maintain and develop the Dior brand. The challenges Raf Simons faces as the head designer of the Dior House and the bonds he forms with the artisans during this process are another compelling aspect of this documentary. This bond emphasizes how crucial mutual trust and respect are, not only in design but also throughout the production process, given the nature of the fashion industry.
As mentioned earlier, Dior is structured into six acts, guided by Christian Dior’s monologue narration. It is neither an obscurely artistic documentary nor a metaphorical one. I believe film is the art of empathy, and this documentary perfectly embodies that with its clear beginning, development, climax, and resolution. Simply put, it begins with the arrival of Raf Simons and follows the eight-week preparation for the collection. However, while Raf Simons is arguably the foremost designer in the minimalist market, haute couture is an authoritative and traditional market. Dior’s existing senior designers and seamstresses evaluate Raf as a designer pursuing ‘Ready To Wear’. Ready-to-wear refers to clothing made in advance according to standard sizes and sold in bulk. Think of the clothes commonly found in department stores around us. However, haute couture creates garments for a single individual. For fittings or to address complaints, two staff members, including the head designer, make a personal visit. The resulting vacancy of the head designer’s position due to these visits causes delays, prompting complaints from Raf. Yet, haute couture justifies this practice, as a single client consistently spends over 400 million won annually.
Despite the many twists and turns between ‘Dior’ and ‘Raf Simons’, Raf seeks artistic inspiration at places like the Pompidou Center. He chooses an old French mansion as the venue for the collection, deciding to proceed with Jeff Koons’ ‘Flower Puppy’ concept. The concept involved covering the entire interior walls with flowers to evoke the feeling of being in a garden, while also captivating attendees with fragrance. This choice transformed the fashion show stage beyond a mere space for presenting clothes, creating a sensory space where the essence of the Dior brand could be experienced. It exemplifies how meticulously Raf Simons sought to realize his aesthetic vision. Through relentless efforts to complete the garments right up until the day before the show, the collection was successfully presented. Standing at the finale, Raf received congratulations and, overcome with emotion, shed tears. Given the many conflicts and efforts shown earlier, and the human charm of seeing the creative director—a synonym for minimalism, ‘Raf Simons’—shed tears, it likely made for an even more moving conclusion for the audience.
Regarding the contrasting scenes and conflicts shown at Dior, they were actually quite childish. Differences in perspective and lack of communication were dramatic yet everyday conflicts. However, this childishness stimulated empathy and emotion. If the story had unfolded with realistic, professional conflicts confined to their own world, it would have felt alienating and difficult to empathize with. Moreover, the global brand ‘Dior’, specifically the Dior House of Haute Couture, is an unfamiliar yet highly prestigious symbol of luxury. For the average viewer, exposure was likely limited to text or photographs. The mere opportunity to see Dior’s Haute Couture through film, coupled with the subject of the ‘Raf Simons’ collection process, makes this a documentary of significant value.
When one imagines the Dior House, the first image that often comes to mind is a sophisticated space where distinguished gentlemen perform intricate tailoring. Yet, the Dior House is filled with fabric and mannequins, and women in their sixties, wearing white gowns, are sewing. While one might expect intricate techniques, they cut the skirt of a fitting model with surprisingly simple scissor work. While eating Haribo jelly, a single remark—“Just as drinkers consume alcohol frequently, I eat candy every day”—broke down the wall between the Dior House and me. I had anticipated an extremely authoritative demeanor, but the unexpected sight felt familiar. Even so, they are haute couture seamstresses with 45 years of experience. They find happiness in their work, apologize when they feel sorry, and applaud together for good results. At the finale of Raf’s show, all the staff applaud Raf. His tears of gratitude and emotion bring tears to everyone’s eyes. Even though it’s a natural reaction, I felt the difference between them and me, and I also felt admiration.
To briefly summarize the assessment, ‘Dior and I’ elevates Christian Dior’s reputation while also showcasing the identification between Raf Simons and Christian Dior. The suggestion to address Raf Simons as “Monsieur” and the intercut scenes revealing Christian Dior’s management strategies and know-how during Raf Simons’ collection process reaffirm the brand value of Dior. Here, ‘Monsieur’ literally translates from French as “my lord,” a respectful title. Furthermore, the cross-cutting between Christian Dior’s collection preparation process 55 years ago and Raf Simons ultimately shows that Raf Simons has also been assimilated into Dior. When employees introduce themselves, they say, “I consider myself a child of Dior, 22 years ago. Now I can express what’s inside me to some extent.“ Alongside this, the Dior advertising video that appears near the end of the collection, featuring the line ”My Dior is my dior, My Dior is my…”, and other elements throughout that reveal Dior’s philosophy and direction are impressive. These supplementary parts indirectly explain the blending of Raf Simons and Dior, enhancing understanding and adding interest.
The documentary conveys authenticity by being grounded in real situations. The characters’ actions, the chairs they sit on, and their conversations all build trust through realism. Scenes of Paris’s Avenue Montaigne, Europe’s premier modern art museum the Centre Pompidou, the Eiffel Tower panorama, and beautifully proportioned mansions all feel real, offering an indirect sense of experience. This unique characteristic of documentaries offers audiences more than simple information delivery; it provides an immersive experience, as if witnessing the scenes firsthand. This aspect is particularly crucial in fashion documentaries. Fashion transcends mere visual experience; it is a comprehensive art form reflecting culture and era. ‘Dior and I’ masterfully leverages this trait, drawing viewers deeply into the world of the House of Dior.
This realism is a unique flavor of documentary, distinct from feature films. It can be perceived as dull or as the charm of authenticity. ‘Dior and I’ follows a predictable narrative arc. It could easily have been titled ‘The Story of Dior’s New Designer Raf Simons’ Bumpy Journey to Complete a Collection’. Some might even criticize it as feeling too much like an official Dior promotional video. Furthermore, the conflicts encountered during the process feel more routine than genuinely confrontational, and they are resolved rather easily. However, the weight of the ‘Dior’ brand, the unexpected human touch, the buzz surrounding Raf Simons, the sophisticated music and editing, and the spectacular fashion show finale all sufficiently elevate the documentary’s value.
