As a fashion enthusiast who has spent countless hours poring over Vogue, attending runway shows, and following every twist and turn in the industry, I can confidently say that “La Maison” is a breath of fresh air in the world of TV drama about fashion. Unlike its predecessors, which often felt like tedious odes to bygone legends or misguided attempts to capture the essence of the industry, “La Maison” manages to strike a balance between reverence and creativity.
In the realm of television production, fashion shares similarities with the restaurant industry: it’s a vast, largely unexplored reservoir of intrigue and conflict, yet it poses challenges due to the intricate nature of exposing its exclusive sphere. Just as “The Bear” was preceded by numerous reality shows vying for the spotlight, followed by an ill-fated adaptation of Anthony Bourdain’s “Kitchen Confidential,” starring a young Bradley Cooper, the French series “La Maison” is the latest endeavor to transform couture into captivating storytelling. While “Project Runway” continues to be an unscripted staple, recent scripted attempts have ranged from respectfully reverential (“Becoming Karl Lagerfeld”) to puzzlingly inept (“The New Look,” which also aired on Apple TV+).
Unlike previous series that dramatized the lives of fashion icons such as Yves Saint Laurent and Coco Chanel, “La Maison” offers more creative freedom. This new series, created by José Caltagirone and Valentine Milville and executive produced by Alex Berger (“The Bureau”), is not just a lighter alternative to its comparison with “Succession,” but also manages to navigate the challenges of portraying creative genius and large investments on a limited budget. However, when it’s no longer bound by the need to honor past legends, “La Maison” delves into the lives of messy, catty, and extravagantly wealthy individuals. Furthermore, instead of being stuck in the past, this show skillfully captures the excitement of a contemporary fashion industry undergoing change.
Although “La Maison” doesn’t explicitly reference its influences, they are undeniably present. The renowned fashion house, Ledu, is a globally recognized brand that stands tall among the few independent clothiers left in France. It shares similarities with Chanel in terms of scale and structure, but its designer, Vincent (portrayed by Lambert Wilson), also belongs to the Ledu family, much like Karl Lagerfeld being part of the Wertheimer family. The Rovels, competitors of the Ledu clan, control a luxury conglomerate that boasts the largest fortune in France, mirroring the Arnaults and their company, LVMH, which was the primary sponsor for the recent Paris Olympics. (Notably, LVMH has been humorously depicted on “Emily in Paris,” currently the most fashion-focused show on television.)
Viewers unfamiliar with these specific references will still find plenty to captivate them. The character Vincent is seen on camera delivering a hateful speech reminiscent of John Galliano, causing a massive public relations disaster. His trusted associate, Perle Foster (played by Amira Casar), devises an audacious strategy to save Ledu: she recruits Paloma Castel (Zita Hanrot), the daughter of Vincent’s deceased lover, to take control. Paloma and her partner Ye-Ji (Park Ji-min) operate an eco-friendly fashion line in Berlin that leans more towards avant-garde artistry than commercial success, making this transition a significant challenge for everyone involved.
In this story, Paloma’s rise coincides with Diane Rovel’s scheme to eliminate Ledu permanently. Victor, Vincent’s brother, previously turned against the family, marrying Diane’s shy daughter after a family dispute. Despite this, he maintains an ongoing affair with Perle – typical of the French. Obsessed with establishing dominance over those who look down on her newfound wealth, Diane seeks additional targets to gain a majority share. One such target is Robinson, Vincent’s insecure nephew, who yearns for a lineage under his own name rather than just his family’s. Robinson’s mother Marie often neglects business matters for her artistic foundation, but she possesses some potentially damaging secrets stored away.
From my perspective, it’s intriguing to witness retail magnates, rather than figures in finance or media, portrayed as the symbolic elite of a nation. This reminds me of “Succession” and the Roy family: The Ledus own a private island and release family photos for public image, much like our beloved fictional Murdochs. However, this shift also means that the conflicts explored in “La Maison” retain an element of freshness, even when characters are somewhat reduced to stereotypes.
The series ‘La Maison’ is intricately structured yet light as a feather, managing to incorporate corporate espionage and terminal illnesses within its fast-paced 10-episode journey. (It appears that Paloma manages to design, launch, and manufacture her first collection in a matter of weeks.) The speed and humor of the show echoes that of ‘Call My Agent!’ and ‘Drops of God’, two other French-language series which have gained popularity in the U.S. recently. However, one could argue that ‘La Maison’ is simply catching up on missed opportunities. For a long time, an engaging television show focusing on fashion has been as elusive as a designer’s prototype – a concept without practical implementation. But with ‘La Maison’, it seems ready for its debut on the runway.
You can now watch the initial pair of “La Maison” episodes on Apple TV+. The subsequent episodes will be released every Friday.
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2024-09-20 16:16