In this blog post, we take a deep look at the creativity and humanity of Raf Simons, who challenged haute couture with “Dior and I.”
In my opinion, and based on what I know about documentaries, they are videos created for the purpose of conveying information. However, since documentaries have directors and cannot show vast amounts of data as is, they are edited, and since it is clear that the director will intentionally direct the filming to be effective in conveying the message, it would be appropriate to define them as “video information directed based on facts for good communication.” As such, documentaries use various cinematic techniques to not only convey information but also provide an emotional and aesthetic experience for the audience. Perhaps it was an interesting documentary for people who have a common denominator of “Dior” and “FASHION.” Above all, “Dior and I” is a very sophisticated and clean documentary.
“Dior and I” is more than just a fashion documentary, it is a work that delves deeply into the fusion of creativity and tradition. The documentary details the challenges that arise in the process of creating new fashion designs and the solutions to those challenges. In particular, the detailed approach to how Raf Simons harmonizes his minimalist philosophy while respecting the traditions of the Dior House is outstanding.
“Dior and I” is a documentary about the first collection project that Raf Simons, who was the head designer of the minimalist fashion brand ‘Jil Sander,’ took on when he became the head designer of ‘Dior’ in 2012. Minimalism is based on aesthetic principles and aims to achieve maximum impact with minimal design. Minimalism was a sensation in the 1990s, but it was temporarily put on hold before making a comeback in 2013 with the arrival of Jill Sander. The lead designer of this line was Raf Simons, and Raf Simons was seen from the time he was about to make his fashion show debut at Dior, the epitome of the new feminine look, and through haute couture. “Haute couture” means ‘high-end sewing’ in French, and it is custom-made clothing that is tailored to the needs of a small number of customers rather than mass-produced. Therefore, artistic sensibility is very important, so I was very interested in how the minimalism of ‘Raf Simons’ would blend in and what kind of work would be created.
In this process, an in-depth analysis is made of how the history of the Dior House and the personal background of Raf Simons are combined. In particular, Simons’ efforts to respect the tradition of Dior while presenting new directions stand out, and this reminds us once again of how important the harmony of innovation and tradition is in the fashion industry. The artistry and rarity of haute couture, and the efforts of designers and artisans to maintain it, form the core of this documentary.
“Dior and I” features first-person narration by Christian Dior, the founder of Dior, and footage edited in a cross-cut style with the film. There are six data screens in total, so the curtain can be divided into six parts. The data screens contain background knowledge and explanations of the events that will take place in the future, which helps to improve understanding. In the first act, it is the day of the welcome ceremony for Raf Simons, who will become the chief designer of Dior in 2012, 55 years after the data screen. The heads of each atelier show the delicacy and meticulousness of inspecting the staff’s attire before meeting Raf, emphasizing the tradition of Dior while creating a stylistic confrontation with Raf. In the third act, for example, the audience is transported from the present, where they are looking at archival photos, to the past through match cuts, and the photo description of “Christian Dior” is added.
This cross-cutting technique goes beyond simply showing the contrast between the two characters, and visually conveys the timelessness of the brand and its potential for change. One of the great strengths of the documentary is how it vividly conveys to the audience how the styles of Christian Dior and Raf Simons are harmonizing to continue the reputation of the Dior House.
Dior is told from the third-person perspective of an observer, and when a new character appears in the middle or a conflict or incident occurs between characters, the story is told in an interview format. This third-person format and interview format enhance objectivity. Also, when the movie ends, the characters of all the employees of Dior House remain in the viewer’s mind. This was possible because the film did not focus on just one person, namely the main character, Raf Simmons, but also on all the employees of Dior. This helped the audience understand Dior better and also gave it an air of objectivity. And most importantly, this production gave the documentary a human touch and made it really fun to watch.
What is noteworthy here is the relationship between the people shown in the documentary. The interaction between the designer and the artisans goes beyond a simple working relationship and shows the essence of collaboration to maintain and develop the Dior brand. The challenges that Raf Simons faces as the chief designer of the Dior house and the bonds he forms with the artisans in the process are another attraction of this documentary. This bond underscores the importance of mutual trust and respect in the design and production process, which is a characteristic of the fashion industry.
As mentioned earlier, Dior is divided into six acts based on the monologue narration of “Christian Dior.” It is neither an artistic documentary nor a metaphorical documentary that is difficult to understand. I think movies are the art of empathy, and this movie has the most appropriate beginning, middle, and end. To put it simply, the movie starts with the appearance of Raf Simons and the collection is prepared over the course of eight weeks. However, it is no exaggeration to say that Raf Simons is the leading designer in the minimalism market, but haute couture is an authoritative and traditional market. Dior’s former executives and seamstresses describe Raf as a designer who pursues “ready-to-wear” or ready-made clothing. Ready-made clothing refers to clothes that are made in advance according to a certain standard size and sold. You can think of the clothes in department stores around us. However, Haute Couture makes clothes for just one person. Two employees, including the chief, visit the customer for a fitting or to receive a complaint. Raf is dissatisfied with the resulting delays in the chief’s absence, but Haute Couture says that this behavior is justified because one customer spends more than 400 million won a year on the brand.
“Dior” and ‘Raf Simons’ have had many twists and turns, but Raf goes to the Pompidou Center and other places to get artistic inspiration, and chooses an old French mansion as the venue for the collection, and proceeds with the collection based on Jeff Koons’ ‘Flower Dog’ concept. The concept is to create a garden-like atmosphere by decorating the entire interior wall of the building with flowers, and to captivate the audience with the fragrance. This choice transformed the fashion show stage into a sensory space where the essence of the Dior brand could be experienced, beyond just a space to showcase clothes. This is a good example of how meticulously Raf Simons tried to realize his aesthetic vision. Even on the day before the collection, they successfully complete the collection through their efforts to create the outfits. At the finale, Raf is congratulated and overwhelmed with emotion, shedding tears. Given the many conflicts and efforts that have gone into the collection, and the fact that the creative director of the collection, Raf Simons, is synonymous with minimalism, the audience would have been even more moved by the ending, given the human appeal of the creative director shedding tears.
When it comes to the contrasting looks and conflicts shown in Dior, it is actually a very childish conflict. The difference in opinion and lack of communication were very dramatic and everyday conflicts. However, this childishness stimulated empathy and emotion. If the story had developed into a realistic and professional conflict in their own world, it would have been difficult to gain empathy while feeling alienated. In addition, the world-famous brand “Dior,” and the Dior House of Haute Couture in particular, is a symbol of an unfamiliar and highly prestigious luxury brand. For the general audience, there would have been limitations in being able to see it only through text or photos. I think that being able to see the haute couture of “Dior” through video and the process of the “Raf Simons” collection alone makes it a valuable documentary.
When you think of the Dior house, the first image that comes to mind is the sophisticated sewing of a dignified gentleman in a refined space. However, the Dior house is full of fabrics and mannequins, and mothers in their 60s wearing white gowns are sewing. I expected sophisticated techniques, but I was surprised by the simple cutting of the fitting model’s skirt. While eating Haribo gummies, she said, “I eat candy every day, just like alcohol lovers drink alcohol often,” which broke down the wall between Dior House and me. I expected her to be very authoritative, but I felt a sense of familiarity with her different appearance. Even so, they are haute couture seamstresses with 45 years of experience. They find happiness in their work, apologize for any mistakes, and applaud each other for a job well done. At the finale of the show, all the employees applaud Raf. They are moved to tears by his gratitude and tears. In fact, even though it is a natural reaction, I felt the difference between them and me, and I also felt a sense of admiration.
To summarize the evaluation briefly, ‘Dior and I’ both enhances the reputation of Christian Dior and shows the identification of Raf Simons and Christian Dior. The fact that Monsieur is added to the name of Raf Simons and the management strategy and know-how of Christian Dior revealed through cross-editing in the process of Raf Simons’ collection remind us of the brand value of Dior. Monsieur is a title of respect that literally translates to my lord in French. I also think that the juxtaposition of Christian Dior’s collection preparation process 55 years ago and Raf Simons’s ultimately shows that Raf Simons has also blended into Dior. The employees introduce themselves, saying, “I think of myself as a Dior child, 22 years ago. Now I can express myself to some extent.” In addition, the collection’s closing Dior ad, “My Dior is my dior, My Dior is my…” is impressive, as it showcases Dior’s philosophy and direction. These additional elements add an indirect explanation to the mix of Raf Simons and Dior, increasing understanding and adding interest.
The documentary gives a sense of realism because it is based on real-life situations. The actions of the characters, the chairs they sit on, and the conversations between the characters all give a sense of authenticity. The views of Paris’s Avenue Montaigne, the Centre Pompidou, Europe’s premier contemporary art museum, and the Eiffel Tower and the beautiful, well-proportioned mansions that appear in the film give a sense of being indirectly experiencing the real world. This unique characteristic of documentaries goes beyond simply conveying information to the audience, providing them with an immersive experience as if they were experiencing the scene themselves. This is an especially important element in fashion documentaries, because fashion is a comprehensive art that reflects culture and the times, beyond just a visual experience. ‘Dior and I’ takes advantage of this characteristic of fashion, allowing the audience to immerse themselves in the world of the Dior House.
The fact that it is realistic is a unique feature of documentaries, unlike feature films. This can be boring, or it can be a charm of being realistic. ‘Dior and I’ has a predictable story development. It could have been titled ‘Dior’s new designer Raf Simons’ turbulent collection completion.’ Some may also say that it is too much like a Dior official promotional video. Also, the conflicts in the process are more mundane and easily resolved than realistic. However, I think the documentary fully capitalized on the weight of the brand that Dior gives, the reversal of human nature, the buzz surrounding Raf Simons, the sophisticated music and editing, and the spectacular fashion show at the end.
