New Look Review: Coco Chanel’s Nazi Past and the Rise of Christian Dior Like You’ve Never Seen Him Before

This year’s series Cristobal Balenciaga showed the personal world of one of the most famous designers in Spain. It is curious that this series has its echo in A New Look, a new Apple TV+ production that somehow touches on the same context. Ten episodes show the years of World War II, when Paris was taken under German control. As if that weren’t enough, the city is under the oppressive grip of Nazi aesthetics and its restrictions. What turns the ordinary and most sophisticated life into a test of courage and will.

But the series doesn’t focus on the resistance or how Parisians managed to survive the fist of violence. Instead, he analyzes the situation through the most elegant, creative and symbolic sphere of the Gala Capital. That is: the designers who remained in France during the occupation and especially how their work turned into a quiet rebellion. Much more when all efforts are made to preserve the classics House open, He had to face the restrictions, prejudices and discontent of the officials of the Third Reich.

The most interesting thing about the series is that it uses this painful and sometimes claustrophobic environment to tell two things at once. On the one hand, the way the French people reacted to military aggression. Specifically, how he found a way to fight back in the midst of a formidable super-surveillance system. On the other hand, this period was especially fruitful for aesthetic creativity. In fact, the first two episodes of the series focus heavily on the premise. The need to turn the rejection of authoritarianism into an expression of art. Or, what is the same thing, symbolic liberation.

Resistance in difficult situations

To achieve this, Todd A. Kessler’s script uses two typical figures of Parisian fashion at the time. On the one side, Coco Chanel (Juliette Binoche). Already at that time the owner of a reputation that preceded her and, without a doubt, the most recognizable face of what was called Parisian fashion. The actress gives her character a nervous and practical look. But it also does something else. She manages to find that central point that made her famous. Chanel in A New Lookis more than just a brand and its designer Coco. This is famous proof that Paris, and then France, continued to resist despite the Nazi siege.

The story makes the smart decision to embody Paris – with all its contradictions, darkness and glitz – in the image of its most famous designer of the time. The series represents more than just the artist, which she also is, as a force of nature. One that is also determined to change the aesthetics that support and sometimes limit the image of women.

Gradually, the plot reveals the layers of the character as he walks the streets where the swastika flag flies or encounters a military presence. The camera follows her closely, both at the seminar and at the meetings where she angrily discusses what to do as the shadow of war spreads across the continent. For Chanel, everything is clear: resist.

Nuances of difficult times

But the designer is a controversial figure. The year is 1943, he lives at the Ritz Hotel. She also has a scandalous relationship with German spy Hans Gunther von Dinklage (Klas Bang). The series carefully avoids showing any moral inclinations or explanations. Everything is clear: Coco Chanel is trying to find a point of balance in the midst of a delicate scenario.

He doesn’t always succeed, and in fact the feeling that the character leaves behind is that he doesn’t really have much of a clue how to do it. What is clear and obvious is that the woman who dresses Paris has a unique power. This is sending a discreet message with your creations.

Shy man in search of fame

By the start of the series, Christian Dior (Ben Mendelsohn) is still a genius in training. The series is careful to show his evolution, although the actor has some problems displaying ambition that is very close to his character’s greed. Dior wants to be famous, recognized, loved and admired. But in 1943, opportunities are small and resources are limited.

Which makes him a man facing a loyalty dilemma. As a student of Lucien Lelong (John Malkovich), he designs dresses for the Nazi elite, and although he knows it is wrong, he has no other choice. In perhaps one of the series’ low points, the translator fails to express Dior’s inner pressure to stop being a student in the midst of a situation larger than himself. Also, the character stats don’t help much. Mendelssohn, Known for imprinting his personality on the figures he plays, he seems to feel a little out of place in the French designer’s shoes.

Much more careful in her portrayal – and even execution – is Maisie Williams, who plays Katherine, Christian’s sister. As a symbol of freedom – she belongs to the resistance – the script tries to show her as a kind of Coco Chanel, without the restrictions of luxury. She doesn’t always succeed, but when she does, it gives the young actress the opportunity to deliver a brilliant performance.

The luxury of a new image of a woman

Little by little, the two designers will meet and clash with each other. But in the first two chapters A New LookThe script aims to tell a story about a twilight Paris, surrounded by hidden violence and refusing to give up its spirit. The idea works as long as the characters seem engrossed in their capsule of work and creativity. However, he is a bit clumsy in his attempt to remain neutral. not always achieving this.

Nevertheless, A New Look It exudes elegance and has thoughtful accommodations. In addition, the visual cut is easily maintained in wide close-ups of the city and in the shadows of large Parisian buildings. A personality that without a doubt gives the series some of its best moments.