第一部纪录Raf Simons 入主巴黎老牌时装屋Christian Dior 迪奥的纪录片将于4月17日Tribeca Film Festival 翠贝卡电影节期间作全球首映,并参与Tribeca 翠贝卡世界纪录片竞赛单元。 名为《Dior et moi(英译Dior and I,中译Dior 与我)》的纪录电影追踪了Raf Simons 加盟Christian Dior 迪奥后创造首个高级定制系列的全过程。由Frédéric Tcheng 执导的该片让外界得以窥视一个时装系列诞生的背后,一群热忱、迷人和幽默的协作者之间对工作的真挚投入,是对高级时装屋作坊中的裁缝们的生动致敬。
长篇影评
1 ) It Makes Fashion Realistic
Dior And I是来美后第四部进电影院看的纪录片。坐进电影院的那一刻,小有诧异。因为包括Citizen Four在内的前三部,观影人数屈指可数,随随便就是“包场影院”。唯独这次,谈不上座无虚席,但是在纪录片这个范畴内,这等观影规模还是令人欣喜的。也是顿悟,或许与Politic或者Crime这类相比较,Fashion这种不费脑力的纯感官享受还是更为受人青睐。 整个片子严格按照事件的发展顺序,在镜头和剪辑上都是走的传统纪录片的老路子,看得出导演Frédéric Tcheng并未打算在这方面有所创新。说到导演,Frédéric是一个标准“科班出身”,哥大电影研究生,之后主攻时尚类纪录片。在<Valentino: The Last Emperoe>里担任Co-Producer之后开始小有名声。这样来讲,Dior And I对于他来说算不上个挑战。挑战是落在主人公Raf Simons身上的,围绕他的三个主要冲突点贯穿全片,成为故事的主线,基本可以总结如下。 第一个冲突点就如同电影的名字,存在于Dior与Raf之间。这里的Dior显然是一语双关,既是Mr.Dior也是Dior这个品牌背后,属于一个时尚帝国的传承。“There are two Christian Diors—Christian Dior, the man in the public eye and Christian Dior, the private individual—who seem to get further and further apart.”就像我们从片中看到的一样,现在人们可以了解Mr Dior的唯一方法就是通过他的手稿,他的设计。但是片子里面巧妙地用narration以及archive footage创造出了一个“活生生”的Mr Dior,使他与Raf从踏进Dior大门的那一刻起就与他的日子重叠在一起,无处不在,如影随形。Raf静静面对着手稿墙的那一刻,我想我对他正在承受的一切是有所体会的。就像剪裁师们无心的玩笑话讲得那样,Mr Dior就像鬼魂一样存在在这个建筑物里,而初来乍到的Raf要在“属于Dior的传承”与“自我风格”中找到那个平衡点,而且是在短短几个月之内,这必定是场战役。 第二个冲突点存在于atelier与Raf之间。这间比想象中小很多的工作间里,存在着一个个鲜活可爱的裁缝大师们。在他们之中,有人从年少时就怀揣着对Dior的憧憬在这里工作了二十余年,有人可以让裙子立起来,有人可以在两天之内手工完成一条令客人满意的定制礼服。想要“搞定”他们,Raf也是花了些时间。看得出起初他们对于Raf的态度是存疑的,因为Raf话少却又倔脾气,那时他们甚至更喜爱Raf的助理多一些。片子也有将近一半的时间徘徊在他们与raf的心理战中,同时满足客户以及raf的要求,对于他们来说也是really challenging。但是看到他们穿针引线时认真的神情,却又不断吐槽逗趣的模样,任何人都会对这个充满人情味的atelier充满向往。 第三个冲突点存在于Raf与他自己之间。众所周知,Raf之前是以极简主义闻名于时尚界,但是想要完成一整套完整的couture collection,极简是远远不够的。片中有一个场景令我很深刻,Raf坐在车里,既像是在对着镜头撂狠话,又想是在对着自己下决心,他说“I will let you know, I can be more than a minimalist.” 当然他做到了,从他决定把走秀的场地用鲜花覆盖的那一刻,他的突破就足以让我们惊喜了。整个片子里,出现在他身上最多的画面就是他一只手撑着那张眉头紧皱的脸,一言不发却又焦虑万分的样子。直到一遍又一遍的“sublime! sublime!"从他嘴里喊出,再到他只不住地流泪,他的厚积薄发就随着他的情感一样,终于一泻而出。 90分钟左右的片长,绝对称得上视觉享受,但遗憾的是却也有些中规中矩,惊喜感不强。总结来说,这是一部较为难得的让fashion沾上地气儿的片子,因为这一件件寄托着无数公主梦的高级礼服,其实就是来自这样一群幽默风趣的裁缝师们手中。脱下那件绣有dior字样的白袍,走出atelier,他们便也是街边随处可见的somebody。豆瓣评分8.6,个人感觉偏高,但仍属于四星推荐范畴之列。 Ps, 片尾曲是the XX的reunion,也是直戳人心的加分项!!!!!
-------------------------------原文分界------------------------------------------ Pieter Mulier: Raf's Right Hand Man at Dior
Text: Kin Woo
One of the most memorable moments in Dior and I, Frédéric Tcheng’s revelatory new documentary on the intense eight weeks leading up to the showing of Raf Simons’s first couture collection for the house in spring 2012 – comes not from Simons at all but his right hand man and studio director, Pieter Mulier. Mulier is depicted indulging in some light flirting with both Florence Chehet, the première for the atelier flou and Monique Bailly, the première of the atelier tailleur. They coo over a pair of trousers he’s wearing and look visibly deflated when they learn he has a boyfriend. Mulier winces slightly when reminded of this, “That was a scene that I thought, 'Umm maybe not necessary!' But my mother saw it and said it was really funny.” Emerging as the secret breakout star of the movie, much like Grace Coddington did in The September Issue, perhaps what that scene illustrates is how vital Mulier is at Dior, acting as an intermediary between Simons and the atelier. Still he protests, “But it’s not really flirting, it’s more charm, you need to charm them a little bit, in a very respectful and honest way, to get this motor running, because it’s a really big engine. It’s 250 women and men preparing the collection in a very short time so a little bit of charm goes a long way.”
On working with Raf... In person, Mulier is as magnetic as he is on screen – chiselled and elegant but with an impish sense of humour. Growing up in Belgium, Dior was to a teenage Mulier, “the biggest company in the world, and one of the most beautiful. My grandmother used to wear Dior, so I knew a little bit. I thought it was a company that represents beauty more than fashion.” After studying architecture at Belgium’s Royal Academy, he was invited by Simons to do an internship at his own label before returning in 2002 to work with him full time. “It evolved from being colleagues to a friendship now. I always think it’s like a ping pong game. He taught me a lot about art – you know his references are a lot of art and architecture – and luckily this is also my background so this helps and I think it works in both ways.”
On making the jump to womenswear at Dior... While Dior would represent the first time he worked in womenswear after 10 years at Raf and a 4 year stint at Jil Sander as director of accessories, Mulier jumped at the chance. “I was always dreaming of working at an atelier. So when they asked me I said yes immediately, because it’s the most beautiful workroom in the world and it’s the only place that still does couture as it was done in the 40s and 50s. And I love the sense of family. Everybody knows each other here.” Looking at the archives would also prove his instincts right: “People always think that Dior is more dresses but when you go into the archive, it’s actually not. The revolution was in the tailoring, in the shoulder, in the waist and in the breast, so on that level is very close to menswear. Monsieur Dior himself was also a tailor, he loved wools more than chiffon. So on that level it was not that difficult. And also I think creativity is creativity so if you put boundaries on what you know then that limits. But I still have a lot to learn, at least another ten years there.”
The lure of couture... In three years since taking over the house, Simons has redefined Dior as a contemporary concern, with couture as the purest expression of his vision. Says Mulier, “I think that couture is pure luxury because everything is possible. And the client is much more open, she’s looking for something that doesn’t exist, she’s looking for something that’s exquisite.” Working in the ‘laboratory’ at Dior with the petit mains at the ateliers, Mulier is constantly struck by their dedication to their craft. “They will always say yes and they will always try, but you need to challenge them. For them, everything is possible and they’re not afraid of anything.” Impending notoriety bestowed by the film’s rave reviews notwithstanding, what Mulier loves best about his role at Dior is the human interaction: “Being responsible for the studio which is all creative people and then working with the ateliers where there are no egos and it is all about teamwork – that’s the beauty of what I do.”
时尚是造梦的行业,但梦想的实现也需要一针一线的坚持。
LVMH当年为了推Raf Simons真是不遗余力,他们成功了,从此对Raf路人转粉
时尚可以简单到美即可,也可以复杂到一针一线,喜欢团队有条不紊的合作,喜欢一件复杂而庞大的事情一点点从每一个小细节做起的样子,更能感受到时尚圈无法压制的焦虑,这是一旦上场就无法后退的战争,美丽残酷。
woooolalala wooooooo
4.5穿插著Christian dior先生和Raf simons在不同年代,卻是同一年紀同樣處境的內心獨白。他們的童年都有各種「flowers dream」,一個影響著設計理念的大花園,以及那一望無際的海。我喜歡這樣悶騷的設計師,他在遇到困難時很絕決,在設計時很堅持,在秀前天馬星空,在秀中哭得像個孩子,真實如Dior。
感觉我对raf simon这种性格的人蛮容易动心。
这就是时尚
Raf Simons和迪奥工坊的匠人们。
当时没觉得,现在Maria Grazia Chiuri上马之后才发现Raf Dimons的简约风骚有多么高级
布景太美,高定的布料和手工、剪裁的确一流。没有一个华丽的外表背后没有一个精神崩溃百感交集一针一线雕琢的背后。http://www.bilibili.com/video/av2918661/
裁缝奶奶们好可爱!睿智细腻不失少女心,永持对美好对优雅的渴望,这才是forever 21的真谛。
西萌可爱惹
RAF真是内心温暖的小公举!!!!
那个西瓜皮没有得到预想的反应,设计师哭了。还有最后的经典款型,赞声一片。其实真正的那些主编,那些贵妇,未必能够理解设计师的。还有这个设计师面对大老板还是谨小慎微的,但也坚持着自己的一些底线和原则。真不容易啊,即使已经如此大牌了。
那件灰色印花大衣真是格格不入...
大开眼界,原来高级定制是从这些小作坊里出来的,而且顶尖的设计师和裁缝们竟然每天穿着白大褂
一流的工匠精神,一流的职人态度。
时尚、时装,确实不是我的范畴,所以很难看懂这部纪录片,但是一场成功的事件背后各种艰辛倒是通用的,所以,就这样了。
#最后半小时。I came just for you. 我只为了看观众席中的那位小个子呀!阿姨生快❤
Raf 在show开场前压力硕大的落泪了,后来show结束后又哭了感觉这点感觉好萌。他的搭档可真是好啊,各种耐心好脾气。dior里的那个premiere在show结束还对他说“干脆把让我做你旁边办公吧”真是太可爱了。有这么群个性的员工,真是好啊~~~那一屋一屋的鲜花我真替预算捏汗啊~