The moment Raf Simons cries isn’t even the best part of Frédéric Tcheng’s documentary Dior and I. Neither is Simons’ triumphant bow at the Fall 2012 Haute Couture show or the suspenseful moment when it seems no couture dresses will arrive at a fitting. The best part is more unexpected, even than tears. It’s that somehow two creative souls so alike, faced with such a similar dilemma, could meet and work together to make such a well-crafted project. It’s not that Frédéric Tcheng “gets” what Raf Simons is going through when Simons takes over the house of Dior eight weeks before the couture show, it’s that Tcheng’s filmmaking style is so empathetic that he lived the process himself.
“I see a parallel between the relationship that [Raf] can have with the founder of the house and the legacy, and the relationship that I can have with my subject. And it’s a struggle to establish the right distance and to honor your subjects, but also to honor your own voice,” Tcheng told Style.com in his soft-spoken manner, adding, “When I filmed the first scene of Raf meeting the seamstresses, I was actually meeting Raf for the first time through the lens of the camera…They had eight weeks [to make the collection], but I had eight weeks, too.”
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