It was another bitterly cold day in London that started with a fun breakfast at the Institute of Contemporary Arts

Impressive 'Lady Grey London'

It was another bitterly cold day in London that started with a fun breakfast at the Institute of Contemporary Arts. As the Dior team and all of Dior's guests huddled together for coffee and croissants, everyone eagerly awaited the screening of the Lady Grey film at this very chic venue.

Lady Grey handbag is the latest incarnationu00a0 and final chapter in the 'Lady Dior' cinematic campaign inspired by John Galliano. First launched in 1996 under the watchful eye and expertise of Dior's current CEO Sidney Toledano, Lady Dior has since triumphantly stayed rooted to its design philosophy, while simultaneously morphing into a product that evolves with the time. Galliano also infuses this futuristic timelessness in the clothes. Therefore, it was no surprise that the director chosen to direct the Lady Grey film was John Cameron Mitchell.

Mitchell's work is subversive, alternative edgy and always new. He has never shied away from uprooting the norms. From his seminal debut film Hedwig and the Angry Inch, to his outstanding sophomore effort and my favourite, Shortbus, to his latest outing and sure to be an Oscar bait, Rabbit Hole, Mitchell has taken his audience to the edge of heaven where it is the beginning of something dark, only to take them back to the glory of the light. In Lady Grey, he uses the same formula.

Starring the gorgeous Marion Cotillard as Lady Grey, a burlesque artist with magical healing powers, the unshakeable Sir Ian Mckellan as her crippled fan and the newbie Brit actor Russell Tovey as the painter who is so inspired by Lady Grey's grace and sensuality that he magically transforms into an artist, the short film had amused its entire audience. Shot in and around London, Lady Grey was a stirring homage to the city and the fourth in the series, after Lady Red in New York, Lady Black in Paris and Lady Blue in Shanghai.

Post-screening, Marion Cotillard was a picture of poise and elegance as she humbly admitted of not knowing much about fashion. She said that working with Galliano and Mitchell wasn't about just fashion, but the transcendence of their creations into an altogether bigger realm of art, and that is what attracted her to the house of Dior in the first place.

She is right, because fashion is an art and Christian Dior is a proof of this utterly delicious pudding, and I was lucky to have savoured it for two wonderful days in London as their guest.