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In the first episode, we see Paloma Castel (Zita Hanrot) and Ye-Ji (Park Ji-min), partners in the Berlin-based brand Doppel, who values inclusion, raid a garment destruction and burning facility, where they stumble upon discarded, unworn items from two leading fashion houses: Ledu (run by Vincent Ledu) and Rovel (run by Diane Rovel). In fact, both luxury and fast fashion brands engage in the controversial and regrettably wasteful practice of burning inventory and yes, that includes luxury handbags and shoes. Luxury brands are motivated by the argument that unsold inventory should be destroyed rather than made to look cheap by heavily discounting it or sending it to a retail store. For fast fashion chains, on the other hand, in some cases, burning excess inventory versus storing it has tax advantages.
The European Environment Agency shares that “an estimated 4 to 9% of all textiles placed on the market in Europe are destroyed before they are used, which equates to between 264,000 and 594,000 tonnes of textiles lost each year.” Early on at La Maison, we see a Doppel fashion show featuring garments pieced together from old fabric scraps from Ledu and Rovel that were
rescued from the aforementioned incineration plant. In real life, more and more designers are committing to using leftover (or unsold) fabric. Doppel points to real-life brands like New York’s Collina Strada, Paris’ Marine Serre, and London’s Chopova Lowena, three labels that have led the way in using leftover material on a large scale. There are also brands that make clothes from responsibly sourced textiles: LilyEve's coat, for example, is made from Hermès silk and cotton.
La Maison is a show born out of what executive producer Alex Berger describes as a desire to depict environments that are “imagined but people [don’t] understand how they work.” With his new Apple TV+ series in particular, he wants to show that for all its glamour, the fashion industry still operates like any other: It’s the final numbers, not the hemlines, that inspire us from season to season. It’s a little like Succession in that way. In La Maison’s jam-packed first episode, the rich plots and subplots are just that: plots. While one brother plots to overthrow another brother at the family fashion house, a ruthless, self-made fashion executive plans to take over a long-standing family business. Will the show have the winning, cunning, meme-inducing dialogue of Succession? Not exactly but it captures the steely world of the ultra-rich with a surprisingly well-dressed cast. (It's rare to see so many of Alaïa, Haider Ackermann, and the wonderful Claude Montana on screen.) La Maison is dramatic even cheesy but in a world of
frivolous shows like Emily in Paris, consider it an Aesop opera. Even more than that: It gets a few things right.
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