Chris Connor reviews the seventh episode of The New Look…
The New Look’s seventh episode has the scattered approach of the previous episodes, split between Coco returning to Paris in secret, Catherine helping repatriate those in the camps and Christian deciding on his future, cutting ties with Lucien Lelong. It still feels quite melodramatic but having spent six episodes with these characters and in this world it is easier to take the show for what it is rather than what it should be.
Maisie Williams again impresses as a Catherine beginning to recover her senses and reintegrate into society. Mendelsohn shows Dior as conflicted over the best course of action for his legacy. Unhappy with the initial course of the partnership he has agreed to with Marcel Boussac who has loaned him the lofty sum of 6 million francs and seeks to influence Christian’s designs.
This episode contains some of the most interesting work of Coco Chanel as she one-ups the Wertheimer’s signalling the creation of Chanel No. 1, one of her most enduring creations.
As interesting as some of the political backdrop has been for the series, it can’t help but feel like the fashion itself is an afterthought and for a show dripping with such stars and production values, this feels like a waste especially when there are references to iconic works and designs.
The episode ends with Catherine and Christian at odds and Catherine returning to their father. It seems likely the reason for the frostiness between the siblings and their father will be a key plot for the rest of this season and beyond.
With a tighter narrative focus and some strong acting, The New Look continues as we move into a golden period for both Dior and Chanel. Ben Mendelsohn and Juliette Binoche remain captivating but the overly melodramatic scripts and plots can hamper their good work. For the most part however, The New Look remains watchable and has a few loose ends to wrap up before the end of its first season.
Chris Connor
