Chris Connor reviews the fifth episode of The New Look…
After what has been a somewhat uneven start to The New Look, Ben Mendelsohn’s Christian Dior takes centre stage in an episode where he grapples with his future as a fashion designer while coming to terms with whether or not his sister Catherine will be coming home after the war. From a slightly more ensemble cast earlier in the season, the show is now primarily split simply between the post-war efforts of Dior and Coco Chanel as both deal with difficult futures.
Coco is still sought by the authorities for her potential links to the Nazis during the war. She is struggling with outsider status in exile in Switzerland, while some impersonate her work in France. A scene where she spots a raft of impersonations of her number 5 perfume is a particular highlight, showing Juliette Binoche’s charisma and energy. She is also struggling with a serious illness for her lover. This is in stark contrast to the partying more hedonistic lifestyle of the designers in Paris.
Christian meanwhile sees himself come up against younger, hungry designers like Pierre Balmain. The focus on the disappearance of Catherine has been dragged out across multiple episodes and with a medium involved, it at times feels implausible and too melodramatic. Again the show is lost between telling the story of iconic designers and leaning into more Soap Opera and family drama. One is certainly more gripping than the other.
The New Look continues to struggle with its identity, is it a biopic of some of the most recognisable names in fashion, an introspective look at Paris during and post WWII or a family drama with these elements as a backdrop. It’s cluttered focus is frustrating and we can only hope it finds its footing in its second half, for audiences to have enough goodwill to continue with it for a second season. It has all the hallmarks of a prestige piece of TV but the lack of polish in some areas leaves it lacking thus far.
Chris Connor
