Apple TV+’s newest series, ‘La Maison,’ dives deep into the alluring yet ruthless world of high fashion. Executive producer Alex Berger describes the show as a desire to portray environments that are ‘fantasized about, but people [don’t] understand how they work.’ He aimed to show that for all its glitz and glamour, the fashion industry operates just like any other, driven by bottom lines, not hemlines. In this regard, ‘La Maison’ shares a resemblance to HBO’s popular drama, ‘Succession.’
The pilot episode of ‘La Maison’ is packed with intriguing plots and subplots, showcasing the cutthroat nature of the fashion world. One brother schemes to overthrow another at the family fashion house, while a ruthless self-made fashion CEO sets her sights on devouring a longstanding family-owned business. While the dialogue may not reach the level of wit and meme-worthy moments seen in ‘Succession,’ ‘La Maison’ captures the steeliness of the ultra-wealthy with a remarkably stylish cast. The show features a dazzling array of high-end fashion, showcasing labels like Alaïa, Haider Ackerman, and vintage Claude Montana—a rare treat for viewers.
‘La Maison’ is undeniably melodramatic, even bordering on soap opera territory. However, in a world of frivolous shows like ‘Emily in Paris,’ ‘La Maison’ emerges as a more nuanced, even insightful, portrayal of the industry. It delves into the darker aspects of the fashion world, exploring the truth behind the glossy facade.
Fact or Fiction?
Let’s delve into some of the key elements depicted in ‘La Maison’ and assess their accuracy:
Do fashion brands destroy their unsold clothes?
Fact.
The pilot episode of ‘La Maison’ features a scene where Paloma Castel and Ye-Ji, partners in the Berlin-based, inclusivity-minded brand Doppel, stumble upon a garment destruction/incineration facility. They discover discarded, unworn pieces from prestigious fashion houses like Ledu and Rovel. This practice of incinerating unsold goods, even luxury handbags and footwear, is a controversial and wasteful reality faced by both luxury and fast fashion brands. Luxury brands justify this practice by arguing that destroying unsold inventory is preferable to devaluing their brand by offering steep discounts or selling at outlets. Fast fashion chains, on the other hand, often find a tax advantage in burning excess inventory rather than storing it. The European Environment Agency estimates that between 4-9% of all textile products sold in Europe are destroyed before being used, amounting to a staggering 264,000 to 594,000 tonnes of textiles destroyed annually.
Do brands use discarded fabrics from other brands?
Fact.
In ‘La Maison,’ Doppel’s runway show features garments crafted from salvaged Ledu and Rovel pieces. This reflects a growing movement in the fashion industry where designers are utilizing deadstock fabrics, or unsold yardage. Doppel mirrors real-life brands such as Collina Strada in New York, Marine Serre in Paris, and Chopova Lowena in London, which have spearheaded the use of deadstock materials. Several brands are also creating clothing using fabrics with identifiable origins. For example, LilyEve’s jackets are crafted from Hermès silks and terrycloths.
Do fashion CEOs purposely avoid their adversaries’ advertisements?
Fiction (probably).
We first meet Diane Rovel, head of the LVMH-type fashion conglomerate Rovel, en route to a meeting. Her chauffeur has explicit instructions to avoid any Rovel advertisements while driving through Paris. This means no billboards belonging to her competitor, Ledu, should be in sight. While it’s impossible to confirm whether fashion executives are actually shielded from competitor advertisements, it seems like an extremely inefficient and time-consuming method for a busy individual. And in the world of fashion, time is indeed money.
Do designers get canceled and asked to step down?
Fact.
This situation seems almost too familiar in today’s society. Following a viral racist rant by Vincent Ledu, the public demands his removal as creative director of Ledu. This storyline mirrors the fall from grace and subsequent exit of John Galliano from Christian Dior in 2011. Interestingly, this real-life incident is even referenced in ‘La Maison’ when a viewer remarks, “Ledu just pulled a Galliano.”
Do designers have retrospective fashion shows?
Fact.
Even after facing public backlash, Vincent Ledu proceeds with a poorly timed retrospective fashion show. In an interview with Vogue, ‘La Maison’ costume designer Carine Sarfati explained that she staged a full-scale fashion show for Ledu using lace sourced from esteemed lace makers like Sophie Halette, Solstiss, and Hurel. “It was important to have a combination of dresses that could have been from different decades,” Sarfati said of the resulting collection. Designers frequently host retrospective showcases to mark anniversaries or celebrate their tenure, revisiting pieces from their archives. The retrospective show by couturier Giambattista Valli during couture week in July 2022 and the Kim x Dolce & Gabbana spring 2023 collection, featuring D&G pieces from 1987 to 2007, are just a couple of examples.
Are designers pressed to show a collection as soon as they’re appointed creative director?
Fiction.
By the third episode of ‘La Maison,’ Paloma Castel has replaced Vincent Ledu and, seemingly within days, is presenting her first collection. The rapid pace of this development feels rushed, considering the recent Ledu retrospective. While a French couture and ready-to-wear label like Ledu would theoretically show more frequently than a strictly ready-to-wear brand, the speed at which Castel’s first collection is brought to life appears unrealistic. Assuming the Ledu retrospective took place during couture week in July, the next Ledu collection wouldn’t be shown until October, during Paris Fashion Week. That’s a span of three months!
Do designers have in-house muses the way Vincent Ledu has Perle Foster?
Fact.
Vincent Ledu doesn’t need to close his eyes to visualize the ideal Ledu woman; she’s right beside him in the atelier. Perle Foster, played brilliantly by Amira Casar, is striving for the artistic director position she rightfully deserves. However, for now, she serves as a muse, inspiring Vincent with her je ne sais quoi and keeping the temperamental designer on track. The in-house muse has been a valuable resource for some of history’s greatest design talents. Yves Saint Laurent had Loulou de La Falaise. Azzedine Alaïa had Farida Khelfa. Halston had Elsa Peretti. Karl Lagerfeld had Amanda Harlech. These muses may not be designers themselves, but they compensate for any technical shortcomings with their vision. ‘La Maison’ offers a captivating, albeit occasionally exaggerated, exploration of the fashion world. While the show may not be completely grounded in reality, it provides a fascinating glimpse into the industry’s inner workings and highlights the complexities and controversies that exist behind the glamorous facade.
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