Apple TV+’s latest offering, La Maison, has garnered mixed reviews, leaving some viewers disappointed. While French television has produced notable dramas such as Spiral, Les Revenants, and the acclaimed spy series Le Bureau, La Maison falls short of reaching their heights.
Set against the backdrop of the haute couture industry, La Maison offers a unique milieu that has not been extensively explored in television. With its lavish Parisian settings and a budget that reflects the luxury typically associated with the fashion world, expectations were high. However, the series suffers from a fundamental flaw: it appears to lack a genuine passion for, or understanding of, the fashion industry it attempts to portray. Critics argue that this is a fashion series created by individuals who seem to have little appreciation for the art of fashion itself.
To understand this critique, one may look to Kevin Macdonald’s recent documentary, High & Low – John Galliano. The film, which delves into Galliano’s controversial remarks and the impact they had on his career at Dior, ultimately raises questions about the fashion industry’s complexities. While the focus on Galliano’s missteps may dominate the narrative, the documentary offers valuable insights into the nature of the fashion world.
Prior to viewing these documentaries, many, including the reviewer, held a dismissive view of “bad-boy” designers like Galliano and Alexander McQueen. Their unconventional styles and shock tactics often overshadowed their artistic genius. However, High & Low and the 2018 biopic McQueen reveal that beneath their controversial personas, both designers possessed a profound understanding of couture, rooted in tradition and craft. This mastery allowed them to innovate and push boundaries within the fashion industry.
Unfortunately, La Maison fails to capture this distinction. The series features a fictional fashion house, Ledu, which finds itself embroiled in controversy following a racist outburst reminiscent of Galliano’s. However, the show does little to engage viewers with the fate of Ledu. The narrative presents a storied brand that has operated for over a century, helmed by an elegantly arrogant chief designer who treats his staff poorly. Yet, rather than inviting empathy for Ledu’s struggles, the portrayal feels more akin to a distant observer awaiting the downfall of an outdated institution.
In summary, while La Maison had the potential to be a captivating exploration of the haute couture world, it ultimately misses the mark. Its lack of genuine engagement with the subject matter leaves viewers feeling disconnected and disappointed. As a result, the series serves as a reminder of the challenges faced by creative teams attempting to navigate the complexities of a rich and intricate industry like fashion.
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