Cristobal Balenciaga (2024) s01e02 Episode Script

"Cristóbal is the only real couturier
among us.
The rest, we are simply
just fashion designers." Coco Chanel
This series is inspired by the thirty
years Cristóbal Balenciaga spent in Paris,
from his beginnings
to becoming the king of haute couture.
IN PREVIOUS EPISODES
Mr. Balenciaga.
Actually, I'm interested
in your beginnings in Paris.
But then, those weeks
after the showcase
for the first collection
They were full of uncertainty.
I think the reviews
have been mostly positive.
On a scale of one to ten, it's a six.
But I think it lacks some personality.
I spent hours designing it!
But it doesn't work!
WLADZIO: May I introduce you
to Nicolás Bizkarrondo.
And his wife, Virgilia Mendizábal,
main shareholders of the Maison.
CRISTÓBAL: You and I decided to come here.
They came for political reasons.
There isn't that much talent
in high fashion.
And you have it, obviously.
Ms. Chanel.
Do you think Balenciaga
is worthy of Parisian haute couture?
(LOUDSPEAKERS BROADCAST HITLER'S VOICE)
(MELANCHOLIC MUSIC)
(DEEP BREATHING)
What are you doing?
WLADZIO: Come. You have to see this.
(MARCHING JACKBOOTS)
PRUDENCE: I'd like to talk about
the Nazis' arrival in Paris.
CRISTÓBAL:
Careful with your questions, Prudence.
There are some things
I'd rather not talk about.
PARIS - JUNE 1940
THE OCCUPATION BEGAN
COLETTE (IN FRENCH):
I'm not stupid, Renée.
I know what I saw.
He was in front of the Trocadéro
an hour ago.
With how busy he is?
Why would he be there?
It was him.
Taking a picture with the Eiffel Tower.
RENÉE: Taking photos
like a tourist at this hour?
It makes no sense.
COLETTE: I'd have stayed.
You don't see Hitler every day.
But I was also scared of staying.
CRISTÓBAL: Shh.
Walk, please.
(IN SPANISH) I thought it'd look better.
This fabric is rubbish. It has no volume.
I don't know.
What hat did we have for this design?
Something's missing.
How could it be bigger? Try a bigger one.
(IN FRENCH) Bigger.
WLADZIO: I don't have any.
Unless you want me to use the pot.
Do it.
Could you design something like this?
RENÉE: Sir.
There's an SS officer
in the hall with a woman.
She wants us to make her a dress.
I told her we only see
people with invitations, but
What do we do?
The officer is pretty scary.
Tell them to come in.
They're clients,
and we don't have many of those.
The torso is black tulle
with embroidered sequins,
and the skirt is mustard synthetic satin.
This is a historicist evening gown.
I love it.
I love it!
I'd like one with longer sleeves and
could you use this fabric?
Uh
That's not possible.
I'm sorry, but high-fashion houses
don't work like this.
The Infanta dress
is only available in this fabric.
It wouldn't be the same if I used yours.
Yes, but I want to use this one.
It was my grandmother's.
I have an entire roll at home.
It's good quality.
Yes, yes.
That's not the problem.
(SPEAKING IN GERMAN)
(SPEAKING IN GERMAN)
(CONTINUES IN GERMAN)
(IN FRENCH) Excuse me.
If this is what you want, we accept.
We will make longer sleeves.
But we'll use our fabric.
Very well.
We must respect
the rules of high fashion, right?
(SPEAKING IN GERMAN)
He says they'll take high fashion
to Germany.
Seeing German high fashion
will be interesting.
Oh, no, no.
He means they will take
Parisian high fashion to Germany.
Oh.
(ANIMATED CHATTER)
PARIS JULY 1940
TRADE ASSOCIATION FOR HAUTE COUTURE
LELONG: Silence, please!
Don't talk over each other
SPECIAL METTING
ATTENDEES
One by one. Please!
Stay calm, please. Thank you.
FATH: What?
I have to go to Berlin?
Right now, it's just a suggestion.
It's madness.
And the suppliers?
And all those who depend on us?
True.
Embroiderers, button makers
- What's the point?
- It's obvious.
They think we have
too much influence on fashion.
They want women to dress like nuns.
(LAUGHTER)
Negotiations are going well,
let's stay calm.
So
we must stay strong.
And resist.
I'm sorry, but count me out.
I don't have the strength,
nor do I want to kiss the Germans' asses.
Are you sure? We must stick together.
What are you saying?
There's no fashion in France
because of the war.
The factories are focused on the war.
Where are the fabrics?
Without fabrics, there's no fashion.
That's why I closed.
It's not the time to make dresses.
(INDISTINCT CHATTER)
BIZKARRONDO: Well, tell us.
BIZKARRONDO (IN SPANISH):
What do you think?
We aren't sure.
Think about it, Cristóbal.
What can you do?
Things aren't better in Spain.
We could close now and open later on.
If you close, it's over.
Besides, the Germans threaten
to confiscate everything if you close.
What do you think, Virgilia?
VIRGILIA:
I don't know about you, Cristóbal,
but we have no other option
besides staying open.
We can't go back to Spain.
Are you sure?
The war over there is ended.
For those who won, yes.
It came two weeks ago.
I'm sentenced to pay 100,000 pesetas
and suspension for reasons
of political responsibility.
VIRGILIA: If we don't pay,
they'll make my father pay.
BIZKARRONDO: For now, it's a fine,
but who knows if that will be enough or
(IN FRENCH) I'm sorry.
(IN SPANISH) What will you do?
BIZKARRONDO: We have appealed
through a trusted lawyer.
- They said it will be a long process.
- So the ball is in your court.
(THUNDER RUMBLES)
CRISTÓBAL: In the end,
we decided not to close.
Finally, the Germans
allowed us to stay in Paris.
But they became much more severe.
They forbid fabric imports.
They limited the number of designs
we were allowed to showcase.
But what could we do?
It was that or shutting down.
So we carried on as best we could,
until the occupation ended.
Next question.
Is that it?
Is that all you have to say
about the occupation?
What else do you want me to say?
They were difficult years.
Yes, you said that.
However, when the war ended,
the Maison Balenciaga
was earning more than before.
It wasn't so bad for you
Speak clearly.
What are you trying to ask?
If I collaborated?
You said that yourself.
Are you afraid someone might accuse you?
Good God!
Have you lived through a war?
Luckily, I was very young.
So you don't know
what you're talking about.
If you haven't lived through a war,
you can't understand.
Try.
(MELANCHOLIC MUSIC)
CRISTÓBAL:
There was a fear of the invaders.
But we were also afraid
to talk amongst ourselves.
We were afraid of talking
to our neighbors, the milkman,
the fabric supplier everyone!
We were all trying to survive
however we could.
I think we have to take advantage
of the strengths we may have.
What do you mean?
We could bring the fabric from Spain.
CONDUCTOR (IN FRENCH):
Hendaya, end of journey.
Hendaya, end of journey.
BIZKARRONDO (IN SPANISH):
Your friends in the Embassy
can get you a visa.
They won't stop you
from crossing the border.
You can visit Spanish textile suppliers
and pick the fabrics.
WLADZIO: Spanish fabrics
can't compare to Lyon's.
VIRGILIA: Maybe so,
in normal circumstances,
but they're surely better
than Lyon's fabrics
or anywhere in France.
Besides, they have no problem
with importing fabrics.
CRISTÓBAL: How will we smuggle
the fabrics to France?
BIZKARRONDO: I have contacts.
Don't worry about that.
MAN: Okay, let's go.
(TRUCK ENGINE WHIRRING)
DAILY SHOWCASE
SPRING - SUMMER
- This fabric is itchy.
- Itchy?
- It's itchy.
- Well, anyway.
- I'm not surprised, it's Spanish.
- Really?
(SHUSHES)
Are you comfortable? Very well.
It's a festival for bad taste.
FLORETTE: If you had seen it
before the war
The Rothschild,
the Duchess of Windsor.
Now there's only skanks.
And nouveau riche from the black market.
Florette, they'll hear you.
(MURMUR)
RENÉE: Look.
Oh, my God.
That scarf with that dress
(CÉCILE GASPS)
Hi, Renée, Florette.
I couldn't come to the official showcase,
but I couldn't miss this.
It's an honor.
(CÉCILE LAUGHS)
You do you,
but I still think they're too big.
When you have your own Maison,
you may make them smaller.
But for now,
Mr. Balenciaga wants them like this.
BIZKARRONDO: Wladzio.
(IN SPANISH) I'm worried
about Cristóbal's travels.
He stays for longer every time.
I'm worried he might neglect the Maison.
You're seeing ghosts.
Think about my situation.
I bet on him and on Paris.
I have nothing to do with Spanish houses.
Yes, but our numbers are improving,
and it's mostly thanks to the fabrics
we get from there.
If this goes on, I'm scared
Cristóbal might want to design from Madrid
or San Sebastián.
What can I do?
- WOMAN (IN FRENCH): Hello.
- (INDISTINCT CHATTER)
(WHISPERS)
(INTRIGUING MUSIC)
(IN SPANISH) See how they look at her.
(WHISPERS)
They can't stand how French women dress.
I'm scared of them.
Don't you feel like we're on a tightrope?
What do you mean?
That it could be us, suddenly.
I don't know like the Jews.
So they start persecuting
anyone who that is out of the norm.
Homosexuals, antifascists
Who knows.
BIZKARRONDO:
I have a fake passport, just in case.
In case they feel
like deporting anti-Francoists.
How's your sentence going?
There's no answer yet.
My lawyer asked me to write a letter
where I regret everything I did
and declare that I've changed my mind.
Fucking hell.
What will you do?
Refuse, obviously.
I'm not gonna play by Franco's rules.
BALENCIAGA - EISA
MADRID 1943
WOMAN: Number 25.
(IN SPANISH) Number 26.
JUAN (IN BASQUE): They didn't show
the same enthusiasm as before,
but that doesn't mean they didn't like it.
Otherwise, they wouldn't have
bought a license.
Juan Martín, please.
He only pointed out the hats.
- JUAN: Is that a bad thing?
- CRISTÓBAL: Exactly.
He points out the hats
to avoid talking about my designs.
The hats are part of your designs.
They were your idea, Cristóbal.
Yes, but I didn't design them.
They were pointed out
because they stand out.
You know how Americans are.
LET'S SEE IF YOU LIKE IT.
WLADZIO.
(INTRIGUING MUSIC)
(HORN HONKS)
(INDISTINCT CHATTER)
(IN BASQUE) What?
Nothing.
AGUSTINA: How are things over there?
The Germans are getting more strict.
They're taking everything.
Now that things are better here,
why don't you come back?
Why do you have to stay in Paris
all alone?
You would be better here.
Mom, leave Cristóbal alone.
I'm just worried.
Mom, we can't abandon
Nicolás and Virgilia.
We have to hold on a little longer.
When the war is over,
everything will go back to normal.
Well, that depends on who wins, right?
(KNOCKING AT DOOR)
(IN FRENCH) Good morning, madam.
Good morning. Your invitation?
We're from
the General Dressmaking Committee.
We'd like to see the manager.
Good morning.
What's going on?
(RAPID FOOTSTEPS)
Sir, an officer from
the General Dressmaking Committee.
It's an inspection.
Tell Mr. Bizkarrondo to take care
of the Spanish fabrics.
(SUSPENSEFUL MUSIC)
- BIZKARRONDO: Hurry.
- MAN: Be careful.
BIZKARRONDO: Hide them,
so they don't see them.
MAN: Be careful with the fabrics.
- Okay.
- BIZKARRONDO: Hurry.
MAN: Hurry.
- JUAN (IN BASQUE): Safe travels.
- Thank you, bye.
JUAN: Bye, Cristóbal.
- (IN FRENCH) Good day, sir.
- Good morning.
(SUSPENSEFUL MUSIC)
Come with me, please.
- Is there a problem?
- Come with me, please.
(INDISTINCT CHATTER)
- (IN FRENCH) Where's Renée?
- There.
- Renée, the book.
- Yes.
(CHATTER CONTINUES)
(IN SPANISH) It's done.
BIZKARRONDO (IN SPANISH):
Cristóbal in Madrid. Fucking hell.
(IN FRENCH) Your papers, please.
I already showed them to your assistant.
Your papers, please.
(SUSPENSEFUL MUSIC INTENSIFIES)
You must have great connections
in the Spanish Embassy
in order to get this visa.
- WLADZIO: Sir?
- Why do you make these hats?
WLADZIO: Sorry, I don't understand.
The hats, why are they so dramatic?
There's no need for it.
It's part of the general concept
of this collection.
It's part of the house's brand.
I will need your record book.
Of course, here you go.
COMMISSIONER: The Paris
Police Department has sent this to us.
A report about you.
You own a high fashion Maison?
Yes.
Exiled during the Spanish Civil War,
you arrived in 1937.
You settled here.
But you are Spanish.
Not exactly exiled.
It's not like that.
Yes.
Things are going well for you.
Right?
Who is
Wladyslaw Jaworowski d'Attainville?
Also named Wladzio d'Attainville.
He's your business partner?
CRISTÓBAL: That's it.
He's more than that, right?
Excuse me?
It says here that you are a known queer.
He's more than that, yes or no?
Listen,
I won't allow you to ask
this sort of question.
Answer me.
No.
He's a friend.
Of course.
Anything to declare?
Are you bringing anything
into France from Spain?
No.
Nothing.
COMMISSIONER: Are you sure?
Yes.
Very well.
Now, walk into that room and undress.
Pardon?
Walk into that room with my assistant
and get undressed.
ASSISTANT: Take your clothes off.
(SOMBER MUSIC)
BIZKARRONDO (IN SPANISH):
They took the record book and left.
That's it?
Nothing else?
It seems they were only interested
in the number of designs
and meters of fabric.
How many times have they inspected us?
WLADZIO: I wouldn't be surprised
if a competitor was accusing us.
They hate that we have better fabric.
CRISTÓBAL:
Did they find the Spanish fabrics?
We hid them, just in case.
I don't know.
I don't like it.
We did miss you.
We didn't know how to answer
some questions.
What did you want me to do, Nicolás?
We had the showcase in Madrid.
We had to take care of the Americans,
the department store representatives,
the press!
So you talk to the press there?
Even if I don't talk to them,
I have to be there.
(SIREN BLARING)
(LOUDSPEAKERS BROADCAST HITLER'S VOICE)
- Wladzio!
- Sorry for being late.
I forgot there are no taxis in Paris.
You scared me.
I was thinking
that something had happened.
CRISTÓBAL: I don't know
if we should make plans together.
WLADZIO: Why?
You've been weird since you came back.
Look. Our Coco.
People say she's seeing a German officer.
Really?
Yes, much younger than her.
Apparently, they spend the entire day
in her room at the Ritz.
Right.
Shall we go?
Yeah.
CRISTÓBAL: Wait.
(IN FRENCH) Good evening.
I'd like to buy the Coco Chanel portrait.
- Is it for sale?
- Yes, sir.
It's 2,000 francs.
Okay, perfect.
(IN SPANISH) You're buying it?
Really, Cristóbal?
(IN FRENCH) I'd like to send it
to the Ritz Hotel.
It's a gift for Miss Chanel.
CRISTÓBAL (IN SPANISH): Shall we?
What was that about?
Coco is my friend.
I wanted to do something nice.
Nice?
After I told you she's seeing
a German officer?
She's always helped me in San Sebastián
and when we arrived in Paris
as well, remember?
Yes, but Cristóbal
I never judged my friend's
political opinions
or my client's.
I don't understand you.
It's like you live on another planet.
Eventually, you have to stop ignoring
certain things.
We can't turn a blind eye
to what's happening.
I think you're spending too much time
with Nicolás lately, Wladzio.
GUETARIA
CRISTÓBAL'S HOMETOWN
CRISTÓBAL: Chanel, with a German officer?
I didn't find it weird.
People deny the relationship
between the French and the Germans.
But I assure you,
the relationship existed.
Everything was much more confusing
than how it might seem now.
You mean to say that you didn't care
if the Germans or the Allies won?
No!
Of course I was glad
that the Germans lost.
Our business is different.
High fashion has always served
the elite class.
It wasn't about resistance
or collaboration.
It was about survival.
(IN FRENCH) In Harper's Bazaar,
they pointed out how extravagant
the hats were in Madrid.
Nothing else?
Just the hats?
(IN SPANISH) I'm thinking of making
less extravagant hats.
Why?
I don't know, I feel like
they're overshadowing the designs
(IN FRENCH) Of course,
with such innovative designs
What? What do you mean?
(IN SPANISH) I don't know
if I see something worthy
of being overshadowed, no offense.
Parisian designers have slowed down.
You're all making the same things.
You apply the same technique
and call it style
when you use Spanish or Greek themes.
That's not style.
That's a costume party theme.
Thanks for explaining what fashion is.
I hadn't realized before.
(LAUGHS SARCASTICALLY)
At least I see something here.
CRISTÓBAL: Thank God.
- You know where to look for your style?
- I don't know, explain it to me.
In your technique.
That's how you create a new style.
(IN FRENCH) Your technique.
Gothic, for example.
It wasn't invented because someone decided
to add color to stained glass.
It was invented because someone managed
to redesign the shapes
and distribute the weight
so that the walls
could have big holes in them.
I don't know how to apply that to fashion,
but I know you do.
(IN SPANISH) What do you want me to do?
For example, the waist.
Why is it always here
and not lower or higher?
Or don't make the waist.
Just like necklines in jackets,
why are they always close to the nape?
I don't know what I'm saying
because I don't do this.
But I can recognize when someone
is offering me something different.
And I know this isn't the best moment,
but this war will end.
You will have to reconsider
where you want to be,
making pretty chapels
or big cathedrals?
CRISTÓBAL:
Wladzio knew how to stimulate me.
He had a huge intuition.
He was the only one
who was honest with me.
Do you miss him?
(MELANCHOLIC MUSIC)
Yes, of course.
He was essential to me,
we worked together 20 years.
We lived through
difficult times.
WARNING
DO NOT ENTER
(IN FRENCH)
"The Dressmaking Committee declares,
effective immediately,
the indefinite shutdown
of Maison Balenciaga."
They came in and kicked us out.
- There was nothing we could do.
- Did they say why?
- They had to say something!
- I'm afraid not.
RENÉE: I'm not sure, I was scared.
(IN SPANISH) I'll find out.
All of you, go home.
(IN FRENCH) Go home!
(INDISTINCT CHATTER)
(IN SPANISH) What are you doing?
If they went to the Maison,
they could come here anytime.
But why?
We don't know why they shut us down.
It won't help
if they know we sleep together.
You think that's why they shut us down?
I don't know, or because
they know we bring fabrics from Spain
or it's Bizkarrondo's sentence.
He's taking too long.
(DOORBELL RINGS)
- BIZKARRONDO: It's the hats.
- WLADZIO: What?
BIZKARRONDO (IN FRENCH):
"Dressmaking Committee notification.
By order of the occupying forces,
Maison Balenciaga is sanctioned
for inciting rebellion
through provocative hats.
The Maison will remained closed
for three months"
(IN SPANISH)starting on January 22nd.
The hats?
Every other house is doing the same thing.
This will crush next season's sales.
Someone has definitely targeted us.
Shut up, Wladzio!
The reason is obvious!
I should have stopped your little hats.
That was your idea!
I only did what you wanted me to do!
Wladzio is right.
Self-criticism would help you,
instead of blaming others.
What?
Yes, Cristóbal.
If you had been in Paris more often
and not so busy traveling,
this could have been avoided.
You know what's happening?
You can't go back to Spain,
and you're jealous of me.
Well, that's not my fault.
Should have stayed out of politics.
Right.
It's better if no one in your life
knows if you're
a democrat, a Francoist or a Nazi.
I have no idea what you are, Cristóbal.
Huh?
What are you, Cristóbal?
I'm apolitical.
I have every right.
I have a right to be political!
Not in this business!
Don't you see that everything is politics?
Even a hat is politics!
(MELANCHOLIC MUSIC)
(MUTTERS)
JANUARY, 1944
VICHY
FRENCH GOVERNMENT OFFICES
DURING THE OCCUPATION
SPANISH EMBASSY
It seems you're being blamed for the trend
in the street lately of wearing big hats.
Plain and simple.
The Germans consider it a threat
against the austerity they're imposing.
Excuse me,
are hats that important?
It's a warning.
You start with big hats,
and you don't know where that could lead.
But why punish the Maison for it?
Mr. Bizkarrondo.
I've heard that you've been sentenced
to pay 100,000 pesetas
for your clearly antipatriotic views
before the war.
What does that have to do with this issue?
Everything.
Everything.
As you understand,
Spain won't intervene for a dissident.
This sentence is due to my former views.
I haven't been in politics
for a long time.
Yes, but
you have the same opinions, right?
No.
No, I'm actually writing a letter
for the Spanish authorities
about my changes
and how critical I am
of the views I used to defend.
Well, I'm glad, I'm glad.
I guess everyone has the right to change.
That's the end of my principles.
WLADZIO: When did you get here?
Early in the afternoon.
The Ambassador has spoken
with the Minister of Industry
and has reopened the Maison.
But we can't make hats for three months.
Only dresses.
I'm sorry.
For you and the hats.
You're really sorry?
Then why are you smiling?
(LAUGHS NERVOUSLY)
Apologize to me.
I'm sorry.
A bit more sincerely, please.
Apologize to me.
I'm sorry.
(IN FRENCH) Tough luck, dummy.
(INDISTINCT ANNOUNCEMENT OVER SPEAKER)
VOICE ON THE RADIO:
Paris, Paris violated
Paris, broken, Paris, martyr
but Paris free.
Freed by itself.
Freed by its people!
(CHEERING AND APPLAUDING)
AUGUST 19TH 1944
END OF THE OCCUPATION
MAN: What's the matter?
(MELANCHOLIC MUSIC)
(PEOPLE SING FRENCH ANTHEM)
(DOOR OPENS)
CRISTÓBAL (IN FRENCH): Hello.
Thanks for seeing me.
Miss Renée has told me
you insisted on seeing me.
Yes, I
Did you hear the news?
Gunther has returned to Germany.
I've come to say goodbye.
I doubt I'll come back.
It was nice while it lasted.
Do you think we're safe?
What will happen to us?
To who?
To us!
You and I, who support the Germans.
I'm afraid you're mistaken.
Maison Balenciaga has never
aligned itself politically with anyone.
I understand.
I brought you a gift.
- No, no.
- It's just cheese.
It smells delicious.
I'm sure it tastes great.
But I never accept gifts,
although I am grateful.
My family makes it.
It's really good.
I'd like you to accept it.
I'm sorry.
But I can't accept it.
(DOOR CLOSES)
(SNIFFS)
(UPBEAT MUSIC PLAYS)
(INDISTINCT CHATTER, LAUGHTER)
(IN SPANISH) We aren't a company
that should be celebrating
the liberation of Paris.
We haven't done anything
we should regret, Nicolás.
We have worked hard.
And we've helped our clients silently,
like we always have.
Some silences are guilty.
So I'm guilty.
CRISTÓBAL: The company still stands.
No one lost their job.
That's what matters, right?
(IN BASQUE) Thank you, Cristóbal.
(IN SPANISH) I know you've been tempted
to leave the Maison and go home.
And I'd like to think that
you've stayed in part for Virgilia and me.
A toast to that.
(GLASSES CLINK)
You know?
As soon as the war ended,
it was immediately forbidden
to wear military uniforms
or symbols of the Third Reich.
The uniforms became children's coats.
And the flags with the swastika
became aprons.
PRUDENCE: That's good.
CRISTÓBAL: I don't disagree, but
I always thought about how the fabrics
that had been used
for those uniforms and flags
were still there.
CRISTÓBAL: The symbols were gone, but
the fabrics they had been made with
remained.
Dressing the children, for example.
Do you understand what I mean?
I'm not sure.
I told you, if you haven't lived
through it, it's hard to understand.
Shall we take a walk?
Sure.
(INDISTINCT CHATTER)
(DISTANT CHATTER, LAUGHTER)
(CONTEMPLATIVE MUSIC)
(MUSIC CONTINUES)