The fashion heavyweights cut contrasting journeys through Nazi-occupied Paris and postwar Europe in the drama from Todd A. Kessler ('Damages').
Drinking through “another night of German-occupied misery,” as his friend puts it, Cristóbal Balenciaga reflects on the days left to come. “Some day this will all be over, yes?” he says. “And right now, you must ask yourself: When it is, will you be able to live with what you’ve done? Our choices, believe me, they matter.
From the start, Coco and Christian’s arcs diverge so vastly that the two characters are only in the same room twice over ten hour-long episodes. Nevertheless, Kessler keeps their stories in conversation with one another through common themes, wringing intellectual and emotional power from the contrasts between their journeys.
By contrast, Christian’s psychology is more complex and more haunting. Burdened by profound guilt for everything that befalls Catherine, he’d surely be the first to agree that she’s the real hero of this story. But he’s the show’s heart — fragile and frightened but fundamentally decent, in an intriguing break from the scuzzier, showier types that Mendelsohn has tended to specialize in .
Indeed, for all Christian and Lucien talk about how “creation is the way forward” from the pain of the war, both Christian’s drive and his process are left largely abstract in. There are acknowledgments of the practical challenges he and other couturiers face, like the fabric shortage that led to the legendary Théâtre de la Mode exhibition of miniature dresses. But the drama offers little sense of how Christian relates to his work, or of why his designs were so revolutionary.
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