Dior straits make for com­pelling show

Western Suburbs Weekly - - Film -

WHO would have thought the world of fash­ion could be a ten­sion-filled and white-knuckle in­dus­try?

While the mod­els prowl­ing the cat­walk look cool, calm and col­lected as they pa­rade the lat­est cou­ture, be­hind the scenes is a flurry of am­bi­tious ideas, loom­ing dead­lines and last-minute changes.

In 2012, Bel­gian fash­ion de­signer Raf Si­mons scored the plum job of creative de­signer at top fash­ion house Chris­tian Dior in France.

His back­ground in menswear de­sign sug­gests a sim­plic­ity that may not trans­late in his new role, but with only eight weeks to pre­pare for his first haute cou­ture col­lec­tion, his ideas seem bolder than any­one could have an­tic­i­pated.

Want­ing to cre­ate dresses out of his favourite artist’s paint­ings, a tricky project to re­alise, the pres­sure is on and the staff be­hind the scenes that cre­ate ev­ery­thing by hand must work around the clock to beat their dead­line.

Not only is Dior and I a rare be­hind-the-scenes look at how fash­ion is cre­ated or a win­dow into the lives and ca­ma­raderie of the crew that make the magic hap­pen (some have been there for decades), but a story of mak­ing dreams come true.

Watch­ing it un­fold is like sit­ting through a tightly wound thriller.

Just like icy Meryl Streep ed­u­cates goofy Anne Hath­away on the im­por­tance of fash­ion in The Devil Wears Prada, Dior and I shows us the blood, sweat and tears that goes into mak­ing some­thing bril­liant and the re­sult is breath­tak­ing; this truly is a stun­ning art form.

You will come away from Dio­randI with a greater ap­pre­ci­a­tion of what on the sur­face some­times looks like a vac­u­ous in­dus­try.

The film is a vivid ac­count of the fash­ion world we don’t usu­ally see.

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