We all know who Dior is. The ostensible “I” in the film Dior and I is Raf Simons. We are introduced to Simons, as he takes over the House of Dior in Paris as creative director in 2012. He hails from Jil Sander, where he had created austere minimalist menswear for the commercial market since 2005. In his new role at Dior, Simons is presented as the opposite of its founder: Simons is ready-to-wear to Dior’s couture, minimalist to the master's baroque style, modern to Dior's reactionary sensibility. How will the new leader of the house bear the weight of the huge tradition of Dior, yet infuse the line with his own vision? Will he be able to pull it off...
It’s easy for us to be “simply mad” about Diana Vreeland, because she was, in her own words, “simply mad about everything!” The inimitable spirit of the late fashion icon infuses every inch of the fashion documentary Diana Vreeland: The Eye Has to Travel.
Director Whitney Smith sets off in a retro Camaro ostensibly searching for Halston at the beginning of his fashion documentary. Such a conceit is an early sign that Ultrasuede: In Search of Halston is going to quickly veer off course into the land of ‘70s cheese. Really, it’s doubtful that the designer who spent $100,000 a year of orchids or who arrived at parties by yacht with an entourage of models would have stepped foot in a Camaro. But Ultrasuede is less a thoughtful portrait of the man or designer than Smith’s projection of Halston as a symbol of Studio 54 and the excesses of the ‘70s.
Millions of people make the pilgrimage up a certain stretch of Fifth Avenue in New York City each year to see how the rich and famous spend their money. Its anchors of retail are Saks Fifth Avenue on one end and Bergdorf Goodman’s department store on the other. The documentary, Scatter My Ashes at Bergdorf’s, is made for them, the hoi polloi on the street. Like the Bergdorf’s windows at Christmas time that draw crowds each year, the film gives average joes a glimpse into a store that they probably can’t afford.
Bill Cunningham is the man behind the camera. He's the photographer whose column in the New York Times, Sunday Styles section has gained iconic status. His images in On The Street aren’t high fashion neatly packaged for the runway. He captures New Yorkers strutting their stuff on the pavement. Anyone can grace his page. You don’t have to have celebrity to back up your style. You don’t have to be rich enough to shop on Fifth Avenue. Maybe, one Sunday, you’ll be flipping through the paper and find you or me. His fashion picks each week give us all hope.