All language subtitles for Inside.Dior.Series.1.1of2.Reopening.the.Summer.Mansion.1080p.HDTV.x264.AAC.MVGroup.org

(intriguing electronic music)

Its name spells luxury, glamor, and style.

Its clothes are worn by the world's most beautiful women.

Fabulous dress.

Thank you.

Dior is a billion-dollar brand

spanning beauty, perfume, hand bags,

and dresses worth tens of thousands.

Its embroidery is insane.

Over 70 years, Dior's designers

have been some of the biggest in the business.

As they now search for a new creative director,

we have privileged access to the people who decide

and the super-rich who buy their clothes.

Join us inside this exclusive world

as we discover the fabulous frocks ...

scandals ...

and ruthless business decisions

which have kept Dior in the headlines.

The courting of celebrities.

The importance of underwear.

And the psyches of the rich.

Even very rich, she has problems in life.

(upbeat jazz music)

La Coeur Noir.

Christian Dior's luxurious refuge in the south of France,

away from the frenetic world of Paris fashion.

Not the home you'd imagine of someone

who started a fashion revolution.

1947.

Paris is still struggling with post-war austerity.

After years in which fabrics were rationed,

Dior uses luxurious swathes of material

to create a new look, which changes the way women dress

and shocks them the world over.

Here, for example, are some new evening gowns

for the summer season of 1948.

They're designed by Christian Dior,

the originator of the new look,

though he disclaims the credit for inventing the name.

These new dresses, he says, have the very latest line:

small waists, full hips, irregular hem lines,

and the fullness of the skirts unevenly spread.

Suddenly you get these dresses

that were not only nipped in at the waste but also full,

these full skirts looking like dance skirts.

It was a reminder of a previous era

and also a shock to people who had learned

how to be very careful with their money.

The new line is called (foreign language), or fly away,

all very charming, but I should think

it would fly away with your money and your coupons.

Just look at the amount of material in this one.

A Dior model who was being photographed

on the streets of Paris in the new look

was actually attacked by some angry women passing by,

who tore the new look apart because they were so shocked.

(intriguing music)

Christian Dior was an astute businessman

who launched perfume, makeup,

and stockings alongside clothes.

Its cosmetics, perfume, and accessories

which underpin the brand's commercial success.

And at Dior's opulent country mansion,

today's bosses are aiming to woo their fashionable guests.

This is how Dior does things.

This is Le Grand Diner, the Grand Dinner

that will host the 200 people that we have tonight.

Just facing the pool.

Pool that Christian Dior himself designed.

The emperor himself died

just 10 years after founding the business,

but his empire has learned how to exploit its past

to cement its future.

He's still the one that really guide us.

He's the one that created everything.

From the very start, he had this image of,

and the vision of, a total brand that could really

not only make women more beautiful but more happy as well.

(elegant string music)

Promoting the brand needs celebrity,

so Dior has selected high-profile brand ambassadors,

paid an undisclosed annual sum.

Oscar-winning Charlize Theron,

the face of J'adore perfume, doesn't come cheap,

and her time is not to be wasted.

Okay.
Okay.

We can't afford to be late.

I understand.
Okay?

We will not be late.

Thank you very much.

Good evening.

Hello, I'm Michael.

Very nice to meet you.
Pleasure to meet you.

Thank you.

(overlapping speech)

Fabulous dress.

Thank you.

I can just turn it.

How's that?

I just had a pin try to kill me in this dress.

Does this look okay?

You're not gonna see it.

Okay.

This was the one thing that came my way

right after the Academy Awards

that I didn't have to think about. (chuckles)

Why?

Because, I mean, to be associated,

or to be asked to be part of a House

that's stood the test of time.

I mean, say the word Dior, and it resonates a lot of things,

especially for a woman.

He loved women.

He just loved women.

I know I don't know him personally,

but I can't believe somebody can design

everything that he's designed for this House

and not be absolutely in love with women.

If you had the opportunity,

and if things changed, would you like to live here?

Live in this House?

I'll definitely take it. (chuckles)

(whimsical music)

Dior's owner, Bernard Arnault,

is the richest man in France.

His LVMH luxury empire made a profit

of 6.6 billion euros in 2015.

The placement at this dinner is careful.

Two or three top French actresses nearby,

Sidney Toledano, the Chief Executive

of the fashion side of the business, opposite.

And on his right, the star guest,

fashionably late, Charlize.

Hi, hello, everybody.

Although she is of course wearing the brand

she promotes, a sniff of the real thing

for the man who has everything can't go amiss.

Yeah, exactly.

(glass clinking)

Speaking of beauty, I would like to thank Charlize Theron,

who has honored us by his presence this evening.

Charlize.

(applauding)

(romantic orchestral music)

Blenheim Palace, one of the most beautiful

and historic stately homes in England,

is visited by Princess Margaret.

She is attending a fashion show

held in aid of the Red Cross,

which features the new winter collection of Christian Dior.

Her Royal Highness chats with the famous designer,

who has brought 13 of his top mannequins to the show,

and his new H line, and this is it.

H for horrid or heavenly.

In 1954, Christian Dior did a very important

fashion show at Blenheim Palace.

It brings together that sense of French style

but also the British aristocracy and British royalty.

And Princess Margaret is very important in this story,

because she's already a fan of Christian Dior.

She ordered a number of dresses from Dior,

including what became her favorite ever dress,

which is her 21st birthday, long white dress,

and she's photographed by Cecil Beaton in the dress,

and she looks like a fairytale princess.

(regal music)

The pressure of today's fashion calendar

is inexorable.

Dior have to turn out seven collections a year.

And for their latest, they've decided to return

to the scene of their former triumph: Blenheim Palace.

A vintage train is hired for the glitzy guests.

Some seem less comfortable

in their temporary outfits than others.

(intriguing electronic music)

As the VIP train trundles towards Blenheim,

Dior have hired a less glamorous form of transport

to make sure the models, some of the most sought after

in the business, get there on time.

Every aspiring model wants to walk in a Dior show,

but however glamorous it may seem,

the reality is all very no-nonsense.

The 55 models are whisked

straight to the route they'll be taking.

The palace passes in a haze as they go through their paces

on the catwalk before being rushed to hair and makeup.

Dior's exalted makeup chief is waiting for them.

I went for this color block, this brown,

chocolate brown eye shadow, just to create

almost like a military, very specific catwalk look,

so the girls would stand out in this very rich,

historic environment.

You, I don't think,

for my innocent eye, have any makeup on now.

Uh-huh.
Do you?

Well, I'm a very shiny person,

so they keep telling me to powder.

And have you got a little bit?

Yes, but it keeps shining through,

so it's hopeless, I'm hopeless.

I'm too shiny. (chuckles)

Marketing is all.

And with social media playing an increasing part,

19-year-old American model Bella Hadid,

who has 5.7 million Instagram followers,

has been chosen to be a beauty ambassador for the brand.

It's nice to have makeup in a show

that you feel comfortable in,

and I love this makeup, so I'm excited.

And the hair?

The hair, I mean, I love a good slick-back,

but the gel is just now drying,

so it's a little bit crunchy, but I love the way it looks.

Returning to Blenheim

is a clever move by the Dior machine.

With the all-important decision

about their new name designer still being made,

it's the venue which is the story.

Today is a big moment for the two in-House designers

who've been promoted to fill the gap,

Lucie Meier and Serge Ruffieux.

As they watch the final rehearsal,

the fashion world waits to see how they will do.

Dior fashion boss Sidney Toledano

is the man who will make the big decision

about who to hire as the new designer.

In terms of designer, first of all

I observe what's going on, I see.

You have to know what is needed,

what are the means you're offering,

and what would be the person

understanding the brand in terms of history, tradition,

able to lead at a very high level, the challenges.

But they could be young, could be--

It's not a question of age but inspiring

and giving the tone what will be

the vision of the person for the future.

Try one more time.

So start here.

While Mr. Toledano wrestles

with the future direction of the company

with an all-important Haute Couture show

to come in just five weeks' time,

one young model is being given last-minute tips

by casting director Anita Bitton

on the fine art of changing direction on the catwalk.

Another step into it so you're not so ...

So you're not turning around.

That's it!

Okay.
Yeah.

Try one more time.

(clapping)

Okay, take the shoes off.

Yeah.
(chuckles)

Can I ask, were you finding it

difficult to turn around?

Oh.

It's my first time, so ...

Really?

Yeah.
Exciting.

Yeah.

She's never done a show before.

Have you ever done a casting before?

No.
No.

So everything is new.
Yeah, everything.

Where are you from, might I ask?

Denmark.
Aha.

Can I ask how old you are?

15.

(regal brass music)

Dior are on the hunt for a new top designer,

but the shows must go on, and for this one,

they've hired Blenheim Palace,

with a 60-piece brass fanfare to herald the guests,

and a battalion of butlers.

Christian Dior himself knew a thing or two about marketing.

When he took a collection from Paris

to show at Blenheim Palace in front of British royalty,

it made quite an impact.

(romantic orchestral music)

Next, a creation called Peru.

A yellow satin coat lined with fur

over a jewel dress that took 600 hours to embroider.

Do you mind walking towards me?

Former ballerina Svetlana Lloyd

was an in-House mannequin for Christian Dior.

She walked for Dior in the '50s.

It doesn't.

You've still got it.

Definitely.

(chuckling)

What was he like, Mr. Dior?

Monsieur Dior had a very high-pitched voice.

He appeared always shy.

And he also, in a very gentle, subtle way,

knew exactly what he wanted,

and he didn't need to raise his voice,

he didn't need to throw a tantrum,

he didn't need anything except to say,

in the softest possible way, what he wanted,

and it was done, and he had wonderful ideas

on how to follow through whatever he wanted,

so that the execution of it was perfect.

He said that what he really wanted in life

was to make clothes for decently-clothed

members of the good society, and that's all.

He would say, "That shoulder needs doing something."

And instead of pointing as you and I would,

he had a little stick that actually reached,

and then he would say, "About there, and about here,"

as you might with a finger, except that a finger

would be a little too near and too intimate.

The style of showing is completely different now

than it was before.

We had the so-called French couture style.

The idea was to glide.

Nowadays, the idea is to walk ...

decidedly.

There was no emphasis on hips at all,

so that you did the glide, the couture glide.

Today's models adopt a very different style.

In the old days, it used to be more like,

you know, like more like a woman,

almost floating through the room, yeah.

Now, that changed a lot.

Here we all know it's quite tough and quite fast.

But you definitely don't smile much, do you?

No, you don't.

You're not meant to smile.

No.

It's more very serious.

Okay, here we go.

Do it, do it.

That's it.

So, now, your lovely smile is inappropriate,

is it, on the catwalk?

Yeah, you don't do that.

I mean, for some shows you can, but mostly not.

So, do you mind looking at the camera, smiling,

and then going into modern.

So that, and then ...

(laughing)

(upbeat piano music)

Dior, the company, learned fast

how to be bigger than the man who created it.

In 1957, just 10 years after founding the company,

Christian Dior suddenly died of a heart attack,

aged only 52.

Christian Dior's death

was totally shocking and unexpected.

But there is this genius in place

who is the young Yves Saint Laurent,

who is Christian Dior's 21-year-old assistant.

And Yves Saint Laurent steps into the master's shoes

and is very successful very quickly.

And there's no other moment, I would say,

in fashion history where you get a great designer dying,

and his successor is already at the House.

What he had to say was quite different

from Christian Dior, not romantic, not elegant,

but much more feisty, much more 1960s.

Yves Saint Laurent get his chance, too,

at Blenheim Palace in 1958.

You don't have to be an expert

to see that, if there's no startling new line,

there's the attraction of variety and, may I say,

extravagance in these creations for the evening.

(romantic orchestral music)

Constantinople, a smart ensemble more Parisian than Turkish.

The last gown presented before the princess

was appropriately named Blenheim,

a magnificent affair in white satin,

with noticeably long sleeves.

Even a stately home can be chilly in winter.

Finally, the brilliant young designer

was presented to the princess.

And he, in turn, presented the 16 mannequins.

(intriguing electronic music)

Back in the same grand library

in chilly Blenheim Palace today,

in-house designers Serge and Lucie's outfits

are revealed to the critical eyes of the fashion world.

Will Serge and Lucie stand by.

Serge and Lucie, go, go!

(applauding)

(elegant string music)

Perfect!

They looked quite young and fresh

in the sporting elements.

So that I thought they did a good job.

It's a tough gig, isn't it,

being the sort of interim designers?

I don't know, because I don't know

whether maybe they'll stay forever.

Who knows what will happen?

But in the world of big fashion Houses,

don't they all need and want a big-name designer?

I think the main thing is to have a designer

who captures the world today.

After all, the days when Princess Margaret

had her great event here, and was sitting in the audience

and looking at the clothes, it was such a different world.

You know, the society, the sheer strength

of the upper classes, all that's gone, faded away.

Now they're looking, I mean Dior are looking,

at international clients all over the world,

so we're in a very different position.

Even before the last crumbs

of the magnificent Blenheim tier are eaten,

Dior are thinking ahead to what has always been

the biggest and most exclusive thing in their fashion year:

the Haute Couture show.

It will be the last collection

before the announcement of their new designer.

Who is the chief designer has always been a key question.

Three years of success wasn't enough

to keep boy genius Yves Saint Laurent in his job.

After he was called up for military service

in the Algerian War of Independence in 1960,

Dior refused to have him back.

He was replaced by the more conservative figure

of Marc Bohan.

Marc Bohan was kind of extraordinary.

He introduces something,

I would say a fluidity, to his designs.

They're much freer, they're much more fluid.

There's certainly no corsetry

in the same way that Dior did.

They're not comfortable in the sense that

they're like your onesie or you sort of dressing gown,

but I can imagine being able to run in them

and dance in them and move in them.

Marc Bohan was the designer who brought fantastic clients.

(dramatic music)

I think Princess Grace of Monaco

had some of his loveliest dresses.

He really knew how to dress

what was the thickening waist of Princess Grace,

and her style was no longer of the youthful princess.

People actually want clothes that flatter them,

that make them look good.

They want a designer who's sympathetic,

not one who necessarily wants to try out

all his wild ideas on their bodies.

Dior, it's a big industry, it's a big business,

so Marc Bohan was successful.

Women wanted to wear his clothes.

He made beautiful clothes

that made women feel beautiful in them.

That's the secret of his success.

Avenue Montaigne,

in the poshest part of Paris, number 30,

the birthplace of the House of Dior is still its home today.

Hello.

Let me take my card, because we are going

to go through the third floor.

Okay?

Catherine Riviere runs Haute Couture,

the most exclusive part of the Dior empire.

Here, that's the first floor with Haute Couture salon.

Couture clothes are handmade

for the kind of woman who can afford to pay

upwards of 20,000 pounds an outfit.

Here you have Princess Diana.

Diana, did you meet?

Yes!

I went to see her to make some fitting for her.

She was charming.

Really?

I remember she welcomed us, she was barefooted.

(laughing)

Very relaxed.

It was very nice.

That was Princess Diana.

Yeah.

Because, you know, we went in her sitting room.

It was like a young girl, with ballet shoes and cane.

And now, the head office,

with all its echoes of past glamor,

has itself been chosen as the venue

for this year's Haute Couture collection.

But first, it has to get a makeover.

As they inspect the location

for their first Haute Couture show,

in-house designers Serge and Lucie

know that an enormous amount rests on their shoulders.

Couture is the House's signature collection,

and they've got four days left to perfect their outfits.

(anxious electronic music)

Three floors up, meet Flo Chehet,

the hands of Haute Couture at the House of Dior.

Flo supervises one of the two work rooms,

and everything there has to pass through her hands.

She has seen designers come and go,

and they've all known that they rely of Flo

and her fellow workers to produce the goods.

Her empire is dresses.

(conversing in foreign language)

Flo is involved in fittings for the next three days.

Every model has to have at least one fitting,

and Flo has to inspect and be on hand downstairs

for each of her team's creations.

Flo has a direct, no-nonsense approach

to someone she's never met.

(speaking in foreign language)

Haute Couture boss Catherine Riviere

visits the workshops to inspect progress.

This is what we call the sample.

If there is a client who likes it,

can be made in another color if they wish.

For example, if you want it in red,

navy, whatever, it's possible.

But then you remake it completely.

It's always.

Sample of Haute Couture collection is never sold.

So, if a client

has a very different shape to the model.

They are always a different shape,

because the model are 16.

They are, you know, 34.

So, you know, they are always different.

So it's why take the measurements.

You have all the dummies of the client

upstairs, on the shelf.

These canvasses on the top shelves.

Clients.

Clients?

You know, we have a basis.

And after, we stud them according

to the measurement of the client.

Aha.

So, looking at some over here--

You have someone big, you have someone thin.

You have very ...

You know, both things, they have to be dressed, you know?

No, sure, we have ...

ladies beautiful but who are not a size 34.

You see the different shapes.

You have some with very small waist.

This one has no waist and a little bit more,

how you say, square.

Everybody is different.

You have some with hip, with no hips,

with big bust, with small waist, with big waist.

They're all different.

Like the woman in the world.

If you look at the woman, they are all different.

Rich and thin.

Yeah, of course they are rich, you know?

Because it's silly to say that Haute Couture

is accessible to everyone.

It's not true.

It's not accessible to everyone.

It's something special.

It's a dream.

Haute Couture has to sell dream.

(curious string music)

Avenue Montaigne, Dior HQ.

Deep inside the building, hundreds of people

are hard at work on the Haute Couture collection,

which will be unveiled in three days' time.

Flo, the head of Couture dress making,

works on the model fittings.

But there's a bit of an issue, a little thing about thongs.

(speaking in foreign language)

(laughing)

The Dior seamstresses can work with any designer,

and they've had to.

In 1989, a new creative director was appointed:

the glitzy Italian Gianfranco Ferre.

It was the first big decision taken by Bernard Arnault

when he bought the then-ailing company.

He obviously took one look at Dior

and thought this is a brand for old ladies.

We have to have something younger and fresher.

(upbeat music)

With the appointment of Gianfranco Ferré

he chose somebody who did quite spectacular collections

with great big skirts, very Italian, in fact,

and I think too Italian for the House.

You can look at those clothes and think,

well, they're slightly too overblown for my taste.

But probably they will have their moment again.

(speaking in foreign language)

Before Serge and Lucie's Couture show,

over 50 models are summoned and then pushed and pulled

in and out of various outfits as the garments are finalized.

19-year-old Julie Hoomans from Holland is much in demand.

It's now less than 24 hours before the show,

but everything seems very last-minute.

My agency called me around three

to say, like, you have to go to Dior,

'cause your fitting's at four.

So I skipped my plans with my friends, and I came here.

And now I'm sitting and waiting.

That's okay, 'cause I just heard them say

my outfit will be ready soon.

There's an awful lot of waiting around?

Oh yeah, there is.

Yeah, there is.

There always is.

But I mean, you have to get used to it.

I mean, bring a book, bring your phone.

Have you brought a book?

Yeah, I have, actually.

What are you reading?

I am reading, it's a really good book.

I'm sure you know it.

I'm reading it in Dutch.

It's Gabriel Garcia Marquez, Hundred Years of Solitude.

So, it's really good.

It keeps me entertained, yeah.

At last, the proposed outfit for Julie

is ready: an embroidered white jacket.

(speaking in foreign language)

The head of the tailoring section is Kamil Arslom.

(dramatic music)

(speaking in foreign language)

What's happening there?

Um, I don't know, to be honest.

No one told me anything.

But I'm just changing looks, so

either means they want something else

or they just want to see something else one me.

Julie is now being tried out in a dress.

So, for the moment, the white jacket

will have to be fitted on a different model.

(conversing in foreign language)

With Couture, you have to be a shrink,

you have to be--

You know, it's true.

Explain shrink.

Why psychiatry or psychology?

Because every woman in the world,

even very rich, she has problems in life, you know?

When she arrive and she make a face like that,

we know that we have to be very careful

and we have to cheer them up.

You know, this is in a nice outfit

and they look great, they are happy.

Plus, you know, you create some nice relationship.

We know their life, we know their children,

we know where they live.

But you know, we are very, very confidential.

There is not one single information

which is coming out from the Haute Couture department.

Very important.

We have to adapt to the new way of living,

on the new client, anything.

New economy.

Why is and why is not anymore, how we came to us

from this country to the other.

It's an all, you know?

Dior has not been afraid of radical change.

In 1996, it appointed the most controversial name

in the fashion firmament: British designer John Galliano.

An enfant terrible takes over at French Couture.

And I think that what you see with Galliano

was this sense of clothes as drama, clothes as spectacle.

(intriguing electronic music)

At his very best, Galliano was a huge success as a designer,

and Dior's profits just spiraled at his worst.

He was very provocative and made people extremely angry.

I suppose the one that hit me most

was the one of the tramps.

The idea of taking people who had no homes,

who were basically dressing themselves in bits of garbage,

it's pretty extraordinary

for a House that belonged to Couture.

But it certainly, I don't know whether

it made the tills ring, but it certainly

made everybody think about Christian Dior.

But in 2011, John Galliano

crashed and burned spectacularly.

After a drunken, anti-Semitic rant was caught on camera,

he was sacked by Chief Executive Sidney Toledano.

A sleek minimalism was brought in

by Toledano's next appointment: Belgian Raf Simons.

But after just three years, Simons resigned,

citing the pressure of work.

The demands of designing for Dior are too great for some.

Back in Avenue Montaigne,

it's the night before the Haute Couture show.

Flow and Kamil are battling it out

to see who has to make the least number of alterations.

They can't finish until the designers make decisions.

Which model will wear which outfit?

(conversing in foreign language)

(laughing)

The model Flo wants to keep is Sophia from Russia.

You're being fought over.

Have you understood that?

No, I didn't. (chuckles)

Do you speak French?

No, not at all.

I want to keep you.

Oh, thank you.

Okay?
Yes.

Voila.

(gentle music)

(conversing in foreign language)

(bright electronic music)

It's the day of Dior's Haute Couture show.

Serge and Lucie's designs are about to be unveiled

to some of Dior's richest and most important clients.

All the top models are back stage.

Bella Hadid, who now has one and a half million

more Instagram followers than she did at Blenheim.

Julie Hoomans is now about 50 years through her book,

One Hundred Years of Solitude.

And Julia Nobis, whom Vogue calls the runway's

most wanted model, has just flown in from Australia.

I'm tall, I'm skinny, I'm apparently not hideous.

People like like, and so, cool.

Julia started in the business when she was 17

and has just turned 24.

I sent in my applications to medical school

the other week, so we'll see how that goes.

And I guess that'll kind of determine

how much longer I have. (chuckles)

As the newly-signed face of Dior makeup,

Bella Hadid gets the magic touch

of the makeup boss himself, Peter Philips.

Up in the workshop, many of the outfits

for the show are still not finished.

(conversing in foreign language)

(intriguing electronic music)

In the backstage dressing room,

the models are reunited with the unique outfits

chosen for them and, in some cases, sewn in.

And then, you know, it's a little revealing.

A smidge.

Got my single nipple.

Only one, though, not the both.

But, you know.

I'm hapy with just one nipple.

I mean, I like a single nipple.

Why not?

Yes.
Thank you!

This embroidery is insane.

It's the details.
I know.

The details are crazy.

This show is not for the fashion editors.

The specially-invited guests are people

you normally never see: seriously rich clients

who can spend, in some cases,

hundreds of thousands a year and Dior couture.

The hallowed staircase they climb is the one

where Christian Dior himself showed his collections.

Despite predictions of its death, in a select few Houses

that still do it, couture is going strong.

The customers just come from different places.

These are the people on whom the future of couture depends

and with whom Catherine Riviere deals.

Dinner is great for the image of the House.

It's very important, because it's really

the window of Maison Dior.

So, if the feedback is good, if the reviews are good,

it's good for all of the product of the House,

which is important.

(intriguing electronic music)

Victoria.

Victoria.

Every last speck of dust and stray hair

are removed before the models descend the famous staircase.

(intriguing electronic music)

(applauding)

And in just over 10 minutes, the whole show is over.

One flight down, its staff drinks.

(conversing in foreign language)

(intriguing electronic music)

For the after-show dinner, no expense is spared.

Monsieur Toledano and Dior have hired

no less than the palace of Versailles

to impress their most important clients.

Dior's owner, Bernard Arnault, the sun king of today,

is here to meet and greet them.

I love Haute Couture.

But I have to find a particular piece.

Right.

And did you see anything today?

I saw a lot of treasures.

And I have to go and see them in person, by appointment.

So I will do that.

Will you be doing that soon?

This week, before I leave.

Fantastic.

Where do you live?

I live in Houston, Texas.

(bright music)

Dinner is on the stage

of the palace's opera house.

Louis XIV himself performed on this very stage as Apollo,

the sun god, and became known as the Sun King.

Dior know how to make these clients feel like royalty.

Next morning, it's back to work.

The show has been hailed a success,

but the press is abuzz with rumors

that the new designer has been appointed,

just in time for Paris fashion week, 10 weeks away.

(conversing in foreign language)

How was it yesterday?

Excellent.

The press was--

The press, excellent, and the clients.

Ah.

They're coming.

Very important.

Absolutely.

Absolutely.

They're coming in today?

Absolutely.

Very well, very well.

And one more question I have to ask.

I have a guy waiting for me.

But the new designer, is there much talk?

Quiet.

Thank you.

Next day, Mr. Toledano announces

that the new creative director

will be the first woman in the roll in Dior's history.

(dramatic electronic music)

Next time, Maria Grazia Chiuri arrives,

with only weeks to put together her first show,

which attracts the stars.

(crowd cheering)

(dramatic electronic music)