Dior and I brings the viewer inside the storied world of the Christian Dior fashion house with a privileged, behind-the-scenes look at the creation of Raf Simons' first haute couture ... See full summary »
Follows the creation of The Metropolitan Museum of Art's most attended fashion exhibition in history, "China: Through The Looking Glass," an exploration of Chinese-inspired Western fashions by Costume Institute curator Andrew Bolton.
A story of friendship, a retrospective, and a look at haute couture as business: we watch Valentino Garavani (1932- ) and partner Giancarlo Giammetti from preparation for the 2006 Spring/Summer Collection in Paris to a July 2007 retrospective of Valentino's 45-year career, which included dressing Jacqueline Kennedy. The film documents a year of work, shows, business changes, and decisions. We follow a creation from sketch to runway: he's always in pursuit of beauty. We're in Paris, Rome, and Venice. He receives the French Legion of Honor medal; his acceptance speech brings tears. Reporters ask when he'll retire. Is the Roman retrospective his career's finale? Cue Puccini.Written by
As told to Elvis Mitchell on KCRW's The Treatment (May 6, 2009), Director Matt Tyrnauer recounted that the film almost never made it to a commercial release. Both Giancarlo and Valentino hated the film on first viewing during a private screening in London and "were completely in shock". Although Tyrnauer had final cut, it took him over five months of negotiations before finally showing the film at the Venice film festival. At Venice the entire audience stood and gave a standing ovation to Valentino after the screening and Valentino apparently now loves the film. See more »
In the closing credits, the archival footage from ZIEGFELD GIRL is credited as a "Warner Brothers" movie. It was an MGM movie but is released on home video by Warner Home Video. See more »
Well, we don't want to have nasty rails do we?
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Really good movie that sneaks into Valentino's world of "Haute Couture"
I really had a great time during the screening. More than a view of the back shop of Valentino's Haute Couture company, the film gives a very unique and interesting point of view of the relation between Valentino and his friend Giancarlo. This let us understand how the complex mix of their talent has let them build their empire. At the same time, the film is not just a panegyric portrait of Valentino, its tracking him even in his tantrums and incoherences. This leads to many humorous moments during which you can't know if Valentino is aware or not of the image he gives of himself. Finally the last aspect I have really liked is that with the retirement of Valentino a very specific way of comprehending "haute couture" is fading away. The film witnesses the interference of finance in fashion companies which is particularly interesting in the case of the Valentino Group.
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