In the spirit of films like The Director, the Gucci documentary featuring Frida Giannini and Unzipped which follows Isaac Mizrahi as he preps for his fall 1994 show, “Dior and I” is a warts-and-all show-off. While there are many adoring shots and moments featuring Simons and his new colleagues, there are as many moments showing Simons either losing his temper under the pressure or voicing his criticism. It makes you appreciate what he pulls off that much more. And like the other fashion films, there is a dark horse who emerges as a star. Simons’ long-time “right hand,” Pieter Mulier is charming, funny, the ladies in the atelier love him and he’s the perfect foil to Simons seriousness.
One of the artists in the atelier has been in the workrooms for 40 years, since she was an intern, another, with 22 years experience, considers herself a baby.
Simons wanted to use a a weaving technique called imprimé chaîne, in which the thread is printed before it’s woven, to created prints inspired by American abstract painter Sterling Ruby. There are only four engravers in all of France that do this kind of work.