Cert 12A
90 mins
BBFC advice: Contains infrequent strong language
Few subjects have prompted as many documentaries as fashion over recent years. In fact, there have been so many I consider myself well-versed on the inner workings of many major houses.
Sadly, this knowledge has not impacted on my wardrobe or, thankfully, my bank balance.
Actually most of the films I have seen have been about fashion journalists such as Anna Wintour, Bill Cunningham and Diana Vreeland.
Frederic Tcheng's biopic of former Harper's Bazaar editor Vreeland was impressive not only to me but also the publicity co-ordinator of Christian Dior.
And it was he who prompted Tcheng to create a fly-on-the wall doc of the first eight weeks in the Dior career of artistic director Raf Simons.
During this frighteningly short period, Simons and his team had to create his first couture collection for the catwalk.
As well as delving into the modern fashion house, the film also explores the label's past and gives a passing nod to Christian Dior himself (workers reckon his ghost gives them encouragement).
I have to admit, however, that I found Dior And I less fascinating than other documentaries about fashion.
Perhaps it was because Simons didn't have the vibrancy of character of previous subjects or perhaps it was due to the fact that I am no longer surprised by the industry.
But, for the first time, I was put off by the excesses and the importance given to trivialities.
This is a world in which New York clients will pay $350,000 for the latest Dior and will, consequently, expect senior staff to fly from Paris to see them if they are not satisfied.
It is also an arena in which walls of a catwalk can be covered in thousands of expensive flowers just to give an attractive backdrop to a collection.
Even Vogue's Anna Wintour remarked that there must have been an unlimited budget after she saw that.
Dior And I bathes just a little too much in wealth and, therefore, I was a tad turned off.
Director Frederic Tcheng: "It’s understandable that anyone might be reluctant to let a camera crew shadow them relentlessly for three months, but Raf Simons' concern seemed to run deeper. I sensed that the vulnerability he was showing would become central to the film."
Reasons to watch: If you are a fan of high fashion
Reasons to avoid: If the indulgences of the rich make your stomach churn
Laughs: none
Jumps: none
Vomit: none
Nudity: none
Overall rating: 5/10