We spent 10 episodes following the painful creative behind-the-scenes of the War universe and how Christian Dior (Ben Mendelsohn) and Coco Chanel (Juliette Binoche) traced parallel paths to survive the Nazi Invasion in Paris to save those they loved most.

More than fashion, The New Look is a story of survival and its conclusion left a feeling of haste and inconclusiveness, which confirms the commitment of a second season to “conclude” the story. Whether Apple TV Plus will opt for another 10 episodes remains to be confirmed, but we are definitely far from the conclusion of the story.

Chanel: bitter victories and personal defeats

The series may seem to be about Dior and the creation of the “new look”, but the antagonist – Coco Chanel – gained a leading role that almost made the name of the series questionable. The French designer flirted with German enemies as an extreme alternative for survival, she justifies herself. The fact is that, for many years, Chanel’s involvement with the Nazis was common knowledge, but, the extent of which was confirmed a few years ago, the fans who defended her even thought that much of it was slander.

Thanks to Binoche, the complexity of Chanel’s decisions gained another perspective. She loses her friend, Elsa Lombardi (Emily Mortimer), who dies of an overdose thanks to the violent and frightening Spatz (Claes Bang), who blackmails them both and ends up turning all of Chanel’s efforts into nothing when she reveals the truth to her nephew.

The version that places Elsa in Switzerland with Chanel is fanciful but brings a more human side to the Frenchwoman. Their relationship was controversial and complicated, but it also humanized the suffering of two women thrown into a violent and controversial male universe.

We end with Chanel having been denounced by her own nephew, after winning the worst battle against her partners and still being on the morally defeated side. No moving forward in time to the pilot scene, where the designer opposes Dior, rivaling the “new look” that she abhors. Even counting on the second season, she was “loose” and now we will have to wait to understand how she will free herself from justice, even with the public stain that remained on her legacy.

Catherine: family reconciliation

Another problem in The New Look is the return and recovery of Catherine Dior (Maisie Williams) and how important she was to her older brother in the endeavor to create the Maison Dior, the Miss Dior perfume, and the revolution in fashion with clothes inspired by flowers in the garden she cares for.

Catherine is a heroine of the French Resistance, having survived the atrocities of the Concentration Camps, torture, and war traumas, but with Maisie’s inconsistent performance, unfortunately.

The historical connection between Catherine and Christian was missing, even if it was dictated and forced in the series. Christian was under extreme psychological and material pressure to support her and then find her but always seems indebted for displeasing everyone. The coldness with which Catherine treated him before and after his arrest strongly clashes with the family bond that was decisive for the revolutionary fashion designer’s career. So sad.

Yes, Catherine found solace in dedicating herself to flowers and the Diors’ house in the south of France, as well as becoming more closed-minded about what she actually experienced during her capture, but Maisie’s alternation of forcing a fake French accent and moments of introspection left her in a state of disarray. a linear performance that does not contribute, as expected, to the drama.

Catherine’s participation in the next 10 years of Dior will be more behind the scenes, the greatest opportunity passed with a weak return, which we regret given the enormous potential that retelling her story promised.

Glenn Close and John Malkovich’s reunion

I asked for it and anticipated it and OF COURSE, the opportunity to put the duo John Malkovich and Glenn Close back together in at least one scene was unmissable. After killing it 36 years ago as Valmont and Merteiul in Dangerous Liaisons, as Lucien Lelong and journalist Carmel Snow, the two once again have chemistry and master a good dialogue that is vital for the conclusion of the 1st season.

With Pierre Balmain consistently presented as neurasthenic, narcissistic, envious, and vain, in contrast to the affection that Dior received from Balenciaga and Lelong, the American journalist was left to “save” Dior from the catastrophe. The team of seamstresses “stolen” from other houses created a labor and political impasse, which only pressure and friendship saved Dior from failure before his revolution. It’s rushed, it’s far-fetched, and it’s not fair to The New Look‘s most important twist.

Lelong “spares” Dior by slapping him on the wrist (he has to return the seamstresses and pay them to finish the work at the other houses) and so everything goes wonderfully, with Dior returning to good terms with those who opposed him, including the insufferable Balmain. Malkovich is wonderful as Christian Dior’s understanding and dedicated mentor, conveying the docility not always common in the American actor’s roles. But it’s his scene with Glenn Close that highlights the final episode of the season.

Christian: the genius under pressure

Christian Dior’s dependence on the readings of Madame Delahaye (Darina Al Joundi), shown in some episodes, disappears just when he would have consulted the tarot even more. Although it spared the fashion show and the dresses recreated for the series until the end, The New Look gave actor Ben Mendelsohn a complex character whose pressure from his personal and professional life will cost him his health and drastically shorten his life.

The editorialized version of Dior in the series – he is good, sensitive, and generous – is almost childish in the role, but thanks to the talent of the Australian actor, it passes. Unfortunately far from any physical resemblance to the real designer, the Dior of The New Look is not honest about his personality either, but he is entertaining.

The suspense surrounding the legendary parade that revolutionized the way women dress was not well crafted: it sacrificed the story that stretched too long, nor did it compensate for the drama of the hours leading up to the event. Visually stunning, it was clearly a moment of product placement, traveling back in time from 1947 to 2024, without context or need. Another slip of the hasty conclusion.

And what’s next?

The showrunners’ intention is to bring the story and entry of Yves-Saint Laurent into the House of Dior in the second season. He inherited the creative part of the brand, even more so with the premature death of Christian Dior. The sequel has not yet been announced, but it is more than necessary given the open conclusion. Will they sew better in the next phase? I hope so!

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