April 2012. The Belgian stylist Raf Simons is named artistic director of the House of Dior to replace John Galliano. A veritable challenge for the designer, who has just two months to create his first haute couture collection and make his mark in line with the legacy of Christian Dior. Director Frédéric Tcheng goes behind the scenes during this race against the clock, shadowing Raf Simons and his team at the prestigious fashion house.

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Seeing Anne Wintour, the legendary editor in chief of Vogue, appear in Dior and I, reminds the audience that Frédéric Tcheng’s film is far from The September Issue. While that 2009 documentary took great pleasure in playing up the image of the devil that wears Prada, Dior and I focuses on the man behind the myth. The camera goes right into the work rooms of the prestigious fashion house, into fascinating studios where animated discussions about deadlines are held, revealing the normality behind the extraordinary, the triviality behind the luxury. There is no need to be an aficionado to appreciate this close look at the legacy of Christian Dior: the film resists technical tricks in favor of the simple but impressive reality of an astonishing human machine. The result is an insider’s look at a dream factory.