Last night I went to see Dior and I, director Frédéric Tcheng’s film set around Raf Simon’s first haute couture collection for the venerable fashion house, for Autumn 2012. It was surprising enough when the Belgian minimalist was appointed to replace the flamboyant John Galliano at Dior’s HQ on the Avenue Montagne, but what’s truly extraordinary is the elegance and ease with which Simons slipped into his new role. With only eight weeks to prepare his first ever haute couture collection for a house and brand whose aesthetic seemed light years away from his own, he took up the helm with majestic grace. Tcheng’s camera spends most of its time up on the top floor, in the atelier where the petites mains work night and day to realise Raf's vision. His humility is touching, when he confesses what they all knew – that he’s never done a couture collection before. And it’s even more touching when one of the studio staff smiles, “On va l’aider!” (We’re going to help him!) And they certainly do, working against the clock and the odds to bring an absolutely sumptuous couture collection to life. Raf’s vision as a designer is evident, but what also becomes clear is his ability to direct a team, to empower people to express their own creativity in the good of a cause. It takes true leadership, self-confidence and curatorial skill to do that – something I strive for every day. What’s also inspiring is his relationship to contemporary art; at one point he says he needs to look at a piece of art every day. He even conceived his floral catwalk as being as if one was seated inside Jeff Koons’ 'Puppy' sculpture, which was installed in front of the MCA by Kaldor Public Art Projects in 1995. In the end, you leave the cinema inspired to make great things, in the knowledge that beauty for beauty’s sake can be an incredibly motivating force.