When one's taking over the reigns of one of the most celebrated couture houses in the world steeped in heritage and history, a lot is at stake. Fashion world's whisperers were waiting with baited breath and all eyes were set on Raf Simons' (who took over the house as a creative head in 2012), first couture offering for Christian Dior. Eyebrows were raised and questions asked - how will the Antwerp enigma give a new potion to the house with such a rich legacy? Will he take the minimalist route like his previous assignment at Jil Sander? What'll happen to the original Dior DNA?
The film lucidly gets all the questions answered while taking us on a magical ride in the atelier.
Every frame of this documentary is a visual treat - how a Ruby Sterling artwork takes the shape of a soul-searing dress, how Raf creates a surreal garden artistically made from a million blossoming flowers to how the head-strong couturier is extremely media-shy and takes a reluctant bow after the show's triumphant staging.
A Belgian in a French-speaking space
The film juxtaposes behind-the-scenes drama and turmoil of the Dior atelier. Right from the outset, when the team of the seamstresses is warming up to their new creative head to how they handle couture emergencies from clients even as they push themselves to meet the the couture collection deadline. From cutting and draping of the fabrics to surface embellishment embroideries to the model fittings and backstage drama - it's like a drug for the couture-starved.
Raf doesn't sketch designs
It gives you a 360 degrees insight into the world of Raf Simons. He creates files of images and inspirations for his concepts. Each staff member is given a file, and everyone then sketches their ideas.
The opening bar jacket
"The past is not romantic to me," says Simons in the film. "The future is romantic to me." He uses a technique called imprimé chaîne, to re-create his creative partner, artist Sterling Ruby's modernist prints on fabric. One of the OMG-inducing highlights is when Raf wants a black bar jacket last minute and the team somehow pulls it off by spray-painting a white bar jacket.
Battling the 'minimalist' tag
Given his previous body of work at Jil Sander, Raf is easily tagged as a 'minimalist'. However, the visionary doesn't let the perception bother him. He keeps the DNA of the Dior house intact giving it his own whimsical, artisanal twist. There's also an input by the respected New York Times critics Cathy Horyn, who's been supportive of Simons' work.
Whipping floral frenzy
Christian Dior's flirtation with flowers — was re-imagined into salons lined ceiling to floor with panels of blooms: delphiniums in the blue room, orchids in the white room, mimosa in the yellow room, and so on. When Raf's girls walk out of the gorgeous architectural marvel, they evoke intrigue and tears.
FRowing
The film also captures the razzmatazz of the fashion's leading lights - right from Vogue US Editor, Anna Wintour, who's seen admiring the flowers to the likes of Riccardo Tisci, Marc Jacobs, Donatella Versace, Diane von Furstenberg and Alber Elbaz gracing the front row to Raf shyly getting photographed with Diorissma Marion Cottilard post show.
Throwback to the 50s
With a panoply of stunning flashes, the film takes us back to the era in fashion history, when the world was witnessing one of the most powerful sartorial lexicons comprising the full skirts and wasp-waisted, silk-shantung Bar jackets, an indulgently feminine "New Look" for Parisiennes, who were used to utilitarian chic.
A must-watch if the world of haute couture fascinates you and if you are also interested in unravelling the story behind the clothes.
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