Christian Dior, portrayed by Ben Mendelsohn in the Apple TV drama “The New Look,” emphasizes the importance of intimacy for elegance, expressing frustration with the grand postwar atelier space his sponsors want him to occupy. The series, created by Todd Kessler, follows Parisian couturiers during and after World War II, sympathetically depicting Dior’s struggles and artistic journey. However, it glosses over Coco Chanel’s collaboration with the Nazis, portraying her story with a revisionist approach that minimizes her controversial history.
In the series, set in 1947, a woman asks Christian Dior about his work during the war. It’s revealed that Dior, along with others like Pierre Balmain, helped create dresses for Nazi women while working for Lucien Lelong. Lelong’s decision to keep his couture house open during the German occupation raises questions about anti-fascism and the survival of Parisian fashion.
In the series, Christian Dior’s sister Catherine, played by Maisie Williams, is a brave member of the French Resistance. She receives Christian’s paychecks to support her comrades’ operations. Catherine’s arrest, torture, and imprisonment in Ravensbrück concentration camp are depicted in detail, with Williams delivering a powerful performance showing her dedication to anti-fascism. Postwar, Catherine struggles with trauma and amnesia due to malnutrition. Mendelsohn and Williams complement each other well, portraying Christian’s sensitivity and Catherine’s strength.
In the series, Christian Dior’s sister Catherine, played by Maisie Williams, bravely fights in the French Resistance. She uses Christian’s pay to help her fellow fighters. Catherine endures arrest, torture, and time in Ravensbrück concentration camp, depicted vividly by Williams. After the war, Catherine battles trauma and memory loss due to malnutrition. Mendelsohn and Williams effectively capture Christian’s sensitivity and Catherine’s resilience.
The series accurately portrays two aspects of Chanel’s life: the renegotiation of her contract by the Wertheimer Brothers to protect their business interests, and her friendship with Churchill, which may have shielded her from repercussions. However, the depiction of Chanel as a victim, frightened and traumatized by the war, forced to comply with orders to survive, is criticized as distasteful and troubling.
The performances by Binoche, Mendelsohn, and Williams elevate the series. Binoche captivates as Chanel, seamlessly portraying her range of emotions and fears. Mendelsohn brings depth to Dior, portraying his struggles with loss and trauma. His poignant portrayal is moving, especially when reflecting on his inability to protect his sister.
Aside from historical inaccuracies, “The New Look” disappoints in its portrayal of fashion. The series lacks focus on the designers’ creative process, with little attention given to costume design by Karen Muller Surreau. Additionally, the camerawork is criticized for being shaky.
John Malkovich, despite struggling with a French accent, brings a dignified sadness to Lelong’s character. His portrayal captures the weight of making difficult decisions for the fashion industry’s relevance. Glenn Close’s appearance as Harper’s Bazaar editor Carmel Snow adds a delightful reunion from “Dangerous Liaisons.” However, despite Dior’s post-war success, the series fails to capture the essence of his collection.
| Aspect | Christian Dior | Coco Chanel |
|---|---|---|
| Importance of intimacy for elegance | Emphasizes importance, frustrated with grand space | Minimizes controversial history, victim narrative |
| Involvement in WWII | Assists in creating dresses for Nazi women | Contract renegotiation, friendship with Churchill |
| Family involvement in Resistance | Sister Catherine part of Resistance, tortured | N/A |
| Portrayal of trauma and resilience post-war | Struggles with loss and trauma | Victim narrative, compliance for survival |
| Performances | Mendelsohn’s sensitivity, Williams’ resilience | Binoche’s range, Malkovich’s sadness |
| Exploration of fashion creativity/process | Lack of focus | N/A |
| Accuracy in historical portrayal (excluding fashion) | Sympathetic portrayal, some inaccuracies | Accurate portrayal, victim narrative criticized |
| Cinematography | Shaky camerawork | N/A |
