Dior And I Tell You Secrets You Don'T Know.

The fashion industry is like stage art. Its essence is smoke, mirrors and the word "dream" that everyone keeps talking about. It is only for sale: why do you want that skirt / that bag / those shoes (not your needs), because they indicate better things for you.

If the sweat, tears and computer modeling behind the stage are exposed, it may destroy the attractiveness of painstaking efforts.

But times have changed.

Now is the era of direct communication and highly pparent, self timer bar, presidential twitter, cooperation with consumers, Facebook buddies, DIY and Etsy.

Now, one of the most puzzling puzzles in the fashion industry - even the sleepless and day debates of designers and executives - is not "what makes Kardashian's first row on the show to help the brand", "the impact of global exchange rate volatility on business", which you may think is more about "openness".

That is to say, it is enough to let the outside world know.

That's the problem.

To adapt to the modern society, the fashion industry must introduce people into the door, but its mysterious charm is based on the "exclusion".

What should the brand do?

The answer may be found in the documentary "Dior and I" (Dior and I), which was published in the United States and Europe in April 10th and this summer, respectively.

"Dior and I" were directed by Fr e d ric Tcheng, who was involved in the documentary Vreeland The Eye Has to Travel (2011), and also participated in the "Diana" (2008).

"Dior and I" is the best fashion industry documentary after R. J. Cutler in 2009, following "The September Issue". The film itself is a powerful proof of why brands should overcome their concerns and choose pparency.

That is to say, the film is the most effective one that I have seen in the subconscious criticism of the fashion industry - exaggeration, selfishness, and the use of consumer insecurity.

On the surface, "Dior and I" tell the story of the debut of the brand new creative director, Raf Simons. He joined in 2012 and created the first fashion series in eight weeks.

The title is a memoir written by the founder of the brand in 1956 about the contradictory relationship between the real self and the public.

However, the real theme of the film is actually the human side of fashion industry: those who work hard in the advanced custom studios have been working on handmade clothing for more than 40 years.

Behind the 90 minute documentary, the fact that it can not be ignored is very simple: they are Dior spirit compared to the brand logo or any individual.

The spirit and power of documentaries is the tension between the new director and the studio staff, especially the anxiety of change that the chief tailor Monique Bailly, Simons said, can be seen through her lips and tightly twisted hands, and Florence Chehet, the director of women's clothing department. Her easy-going smile shows a longer-term vision; the senior ordering department Catherine Rivi re re, in evaluating the Simons, because Chehet has to fly to New York to dress for customers' clothes in the evening, says: "every season we spend 350 thousand European customers, we will not refuse."

The fate of fashion industry and documentaries can be traced back to the success of Douglas Keeve in 1995, "Unzipped".

In addition to Mr. Tcheng, his colleague French documentary director Lo C Prigent is popular in the industry. He directed the five episode series Signe Chanel for Karl Lagerfeld's 2004 - 2005 Chanel fashion series, and directed "Marc Jacobs & Chanel", as well as recent works.

In addition, there is a documentary "The Director", which is produced by James Franco, about Frida Giannini, a former creative director of Gucci, and a documentary film "CR" for Carine Roitfeld's "CR Book" magazine.

But it does not mean that it is well done.

"The Director" loses its attraction because it has too much to convey brand information.

And all successful films share a common trait: that brands are willing to open themselves, even through their gilded gaps.

In the documentary, Simons will cry. Bailly will doubt that Rivi re will talk back to her. Everyone will push herself for others.

"Valentino:The Last Emperor" after the premiere of the Venice Film Festival, the producers of the film were not sure whether the two actors would attend the premiere - all the audience rose and turned to Garavani and Giammetti, with enthusiastic applause.

Mr. Tcheng said that it was at that moment that Garavani changed his attitude.

"He realized that the film made people like him," Tcheng said.

In the final analysis, there is nothing more fascinating and unguarded than pparency, which is not just chiffon.

This is a positive thing for the fashion industry if they dare to try it.

If Oscar has the best supporting role in the documentary, they should be nominated.

In other words, this is just like Anna Wintour is the heroine in the rumors of "The September Issue", but it is the Grace Coddington that painstaking efforts to work.

For "Dior and I", Bailly and MS. Chehet showed them to them.

And the treasure of the inherited brand is the spirit beyond fashion that leaped over the screen.

In many ways, the documentary conveys the message.

Cooperation with the studio is the key to the fashion brand. Designers may come and go, but the studio carries the history of the brand.

In fact, there is a very obvious omission in the documentary. There is no mention of why Mr. Simons first came to Dior: in 2011, his predecessor, John Galliano, was dismissed because of his anti Semitic remarks.

If you did not know the 15 years of the Galliano period (or the Marc Bohan/Gianfranco Ferr era before him, and then the interim agent Bill Gaytten), then Dior was considered to be from this time.

The era of direct pmission to Mr. Simons is also justifiable.

This is really bad.

Although the film has successfully displayed the burden on the shoulders of the designer (Mr. Simons said in his car back to Belgium, "this is very interesting, but it is also very heavy...")

Very heavy. "

As a matter of fact, the responsibility of the designer is more important than that of Mr. Galliano's abrupt recall and Mr Gaytten's brief appointment.

Documentary director Tcheng said that he did not mention Galliano at all in his editing room, not Dior's request.

"I want to clarify that this movie is not about the fashion industry as seen by the media."

He said.

According to Mr. Tcheng, when he first saw Dior CEO Sidney Toledano, the latter himself mentioned Galliano and told him, "you can't ignore this kind of thing."

In fact, Galliano indirectly contributed to the filming of the documentary, according to Dior Global Communication Director Olivier Bialobos, the documentary was originally Galliano's idea.