At the top of Episode 1 of Apple’s “The New Look,” a title card flashes some weighty words: “This is the story of how creation helped return spirit and life to the world.”
But Todd A. Kessler’s drama series is barely that. “The New Look” is largely insular, despite taking place during a turbulent era that still affects millions around the world, centering figures who certainly left their marks on culture and history — but the vague thesis statement sounds like just that; the kind of sweeping, half-formed idea that a high school student might retroactively tack on to the introduction of an essay.
“The New Look” is the concurrently told story of two fashion icons forged in the traumatic depths of World War II — concurrent, but not parallel — Christian Dior (Ben Mendelsohn) and Coco Chanel (Juliette Binoche). The series begins in 1955, when Chanel returned to Paris after years spent...
But Todd A. Kessler’s drama series is barely that. “The New Look” is largely insular, despite taking place during a turbulent era that still affects millions around the world, centering figures who certainly left their marks on culture and history — but the vague thesis statement sounds like just that; the kind of sweeping, half-formed idea that a high school student might retroactively tack on to the introduction of an essay.
“The New Look” is the concurrently told story of two fashion icons forged in the traumatic depths of World War II — concurrent, but not parallel — Christian Dior (Ben Mendelsohn) and Coco Chanel (Juliette Binoche). The series begins in 1955, when Chanel returned to Paris after years spent...
- 2/14/2024
- by Proma Khosla
- Indiewire
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