Cristobal Balenciaga (2024) s01e06 Episode Script

1
"Prestige remains. Fame is brief."
Cristóbal Balenciaga
This series is inspired by the thirty
years Cristóbal Balenciaga spent in Paris,
from his beginnings
to becoming the king of haute couture.
IN THE PREVIOUS EPISODE
CRISTÓBAL: My partner Nicolás was gone,
and no one could alter my craft anymore.
I decided what and how.
And suddenly, finally,
the perfect fabric for my designs.
It was a sweet moment.
(IN FRENCH) Tell me.
You're not considering
prêt-à-porter, right?
I'm too old for these changes.
CHANEL: You need to control everything.
(IN SPANISH) I'm now dressing you
on the day
that you are crowned Queen of Belgium.
FERNANDO (OVER PHONE):
The sketches of the dress.
Someone leaked them. They're on the cover.
Don't look for excuses!
You were responsible!
You mistreat me
in ways you'd never dare speak to others.
Chanel is telling people
that it's obvious that I don't like women.
I hate when people talk about me.
(SOFT PIANO MUSIC)
CRISTÓBAL: I never
considered myself an artist.
I was walking
down a path almost instinctively.
Fit the sleeve.
I wanted to stop forcing the fabric.
Bind it as little as possible
with unnecessary seams.
One single piece of fabric.
The gazar, the zagar
were fabrics that allowed me
to achieve unseen shapes
without having to add weight to the dress.
Most of all, they allowed me
to play with space.
The space between the body
and the fabric was part of the dress.
(CHORUS SINGING)
The body of a woman,
a piece of fabric and space.
And a few seams to hold it all together.
(INAUDIBLE CONVERSATION)
PRUDENCE: Mr. Balenciaga,
why did you shut down the Maison?
BALENCIAGA'S HOUSE
PARIS, 1967
(IN FRENCH) Is it silk?
- Are you sure?
- Yes, yes.
We sell it as such.
I don't like it.
- This isn't pure silk.
- Yes, yes. It's silk.
Are you sure that if I burn it
- there won't be black smoke?
- No!
Well, it might have been mixed
with some polyester,
- for the pleats
- I'm sorry, but no.
I'm the first to defend
fabric innovations,
but polyester
but polyester doesn't breathe,
clients will end up smelling like sweat.
Do you think a Balenciaga
can be made with fabrics like these?
Others have tried it,
and they are delighted.
What's going on, Roland?
I don't feel respected.
You delivered the fabrics late
for the last collection,
and my team had to work
day and night to finish it on time.
It can't be!
We do what we can,
there's a lot of orders.
RENÉE: It's because of
the prêt-à-porter manufacturers.
They hoard everything
and suppliers are overwhelmed.
Yes, but then we are also overwhelmed.
How much has overtime work
gone up in the last year?
RENÉE: If you go to the next page,
number seven
you'll see the extra hours
this year so far.
And this other column?
Social security expenses.
They've shot up.
The situation is dire.
Castillo couldn't take it anymore
and has closed shop.
And I heard André Courrèges
will reveal a prêt-à-porter
collection this year.
Did you know Yves Saint Laurent
has opened his first shop
to sell his luxury
prêt-à-porter collections?
And he's doing very well, right?
Okay, okay
It looks like you've
rehearsed this scene, right?
We can't go against
what's happening in the street.
The street, the street.
Since when have we cared about that?
That's not our thing.
(BRAKES SCREECH)
(CHANTING)
FOR THE STRUGGLE OF ALL PARISIANS
- (IN SPANISH) Javier, what's going on?
- Vandalism.
They're communist kids
who haven't worked a day in their lives.
ABOLITION OF CLASS SOCIETY
CROWD: Let's be real
and ask for the impossible!
(CHANTING CONTINUES)
(MELANCHOLIC MUSIC)
- CRISTÓBAL (IN EUSKERA): Thank you.
- Welcome.
RAMÓN (IN SPANISH): What's on your mind?
I'm looking at that txalupa.
- Do you see it?
- Yes.
CRISTÓBAL: It's been in that same spot
since we sat down here.
And it might not catch anything.
Now that's patience.
It reminds me of my father.
Well, maybe it's time to close shop.
I don't know.
Have you thought about it?
I'm on it.
I've been thinking
about it for a long time.
There may be other options
before we close.
I can't think of one that I like.
I'm sure that, without me,
Maison Balenciaga can't go on.
What sense would it make?
I don't know. Yves Saint Laurent
took over after Dior.
I've always found that disgusting.
How could others sign with my name?
And what will happen to
all the people that work in your houses?
Your nephews and nieces?
That's what keeps me up at night.
(IN FRENCH) But you're at the top!
Your last collection
was wonderful, Cristóbal.
Thank you.
But I've given everything I had to give.
Cristóbal, you still have a lot to offer.
You can't quit now.
You're the biggest star.
Don't rush. Think it through.
I already did, and I've made my decision.
When was that?
While you ate your sole?
(IN SPANISH)
You were still thinking about it?
Just because
we're always together doesn't mean
that you know what's inside my head.
(IN FRENCH) Hubert, I need your help.
Whatever you want.
Hire some of my workers in your shop.
The older ones.
It'll be harder for them to find work.
It'll do you good
because they have experience.
I could take over for you.
I know you better than anyone here.
I know what you like,
what would work and what wouldn't.
And you, still retired,
could tell me if you like what I do.
(SIGHS)
(IN SPANISH) Ramón, I want you to tell me
if you see yourself
designing high fashion.
Truly
do you think you could do it?
I might not have the best technique
but with the proper team
I would like to at least
have the chance to prove it.
(CHUCKLES SOFTLY)
(INDISTINCT CHATTER)
- (IN FRENCH) Good morning, sir.
- Good morning.
I was looking for you, sir.
Why is no one working?
RENÉE: They're waiting for the fabrics.
What a disaster!
I knew it. That Roland
Call him right now
and tell him it will be his last delivery.
He can forget Maison Balenciaga.
What's wrong, Miss Renée?
The letter. It just arrived.
(DOOR OPENS)
Thank you for coming, Mr. Balenciaga.
Paul Beachant, vice president.
Jerome, my assistant.
- A pleasure.
- Nice to meet you.
VICE PRESIDENT: Mr. Balenciaga,
we would like your name
to join Air France,
as happened previously
with great designers like Georgette Renal,
Rodier, and recently Dior.
We would like you to design
our stewardess suit.
We, who obviously have
contact with a lot of countries,
know better than anyone
that the masters of high fashion
respect the world.
I appreciate it,
but you have the wrong designer.
It'd do you better
to ask a French designer,
like Chanel or Saint Laurent.
If you allow me
I assure you
that we will respect your vision
and give you anything you need.
All without leaving your home.
You only have to draw the designs,
send them and supervise the rest calmly.
Yes, but
I don't know how to do that.
I'm just asking you to try.
Honestly, I doubt you'll regret it.
I like to control the whole process.
I've always worked like that.
I understand you.
Can I make a confession?
You and I come from a previous generation,
I also like to control
the whole process
But some time ago someone opened my eyes.
They made me understand
that even if I think it's all in my head,
there are some ideas
I had never thought of.
And ideas from outside
can be more interesting
than what you have here.
And then I had a revelation.
I learned to trust my team and
I learned to lose control.
Sir
I'm offering you a collaboration
between two big houses
joined through excellence
Air France
and Balenciaga.
I only ask this of you
(IN SPANISH) Fly freely with us.
CRISTÓBAL: Let Lucía handle
that model. For Danielle.
Okay.
Ramón, do you think
I should accept Air France's offer?
I think so.
CRISTÓBAL: Mm.
Air France has a lot of prestige.
It's one of the most important companies.
I see it as the Maison Balenciaga
of airlines.
(LAUGHTER)
The things you say, Ramón.
It's what I think.
Working with them can be
a great first contact
with prêt-à-porter for Balenciaga.
A one-time thing for a reputable brand.
Maybe it's a least traumatic
way of distancing yourself
from the Maison.
A solution for all your doubts.
You won't know until you try.
Besides, this way, if it works,
you could take over
this prêt-à-porter section, Ramón.
I could see you in that.
VICE PRESIDENT (IN FRENCH): It's an honor
that our stewardesses
will wear your designs.
Jerome, my assistant, will be here
to assist you in anything you may need.
GRUNBERG: Follow me, please.
Here we cut the fabric
following the pattern.
You put the pattern over one of the piles
of fabric and we apply the cutter.
As you can see, it's very simple.
And in a few minutes
you will have cut hundreds of sleeves.
Here is the dressmaking area.
Three dresses per minute,
180 identical dresses every hour.
If I put one next to the other,
you won't be able to tell the difference.
One cuts the sleeves,
the other does the necklines, the cuffs
This is Mr. Gauthier,
the production chief.
- Mr. Balenciaga.
- A pleasure, Mr. Balenciaga.
I think he will be able
to explain it better.
It's very simple.
We divide manufacturing in sizes.
We have sizes 38, 40, 42
Every size fits one sizing.
For example, 38 is 86
to 89 centimeters for the chest, 68
Don't you have bigger samples?
I'm afraid not, sir.
They're in a warehouse in Hamburg.
I see.
And how will I choose the fabric
if it's a thousand kilometers away?
(LAUGHTER)
This is Catalonian Tergal.
You may iron it
and wash it a thousand times,
it won't lose its shape or color.
I don't know
It's becoming more popular,
it's used for school uniforms,
table linens, tailored suits
Good.
I choose
this one and this one.
Three reels for each.
Maybe more, sir?
There are 1700 stewardesses
That's for the model piece.
Depending on the result,
we'll make another order.
You have the Maison's address, right?
I'll handle that, sir.
Very well, Jerome.
(IN SPANISH) This one and this one,
and the boots in this, as well.
Air France's costume department are asking
for the designs as soon as possible.
Already? They have no patience.
They pay well, so they ask for a lot.
Then they should talk
to their boss and leave me alone.
There's still a lot to do here yet.
Thank you.
(IN SPANISH) Well, let's do our thing.
(TENSE MUSIC)
- (IN FRENCH) Good morning.
- Good morning.
- Good morning.
- Good morning.
Danielle,
come to my office right away, please.
Yes.
(IN SPANISH) The last one is horrendous.
Take it off, please.
RENÉE (IN FRENCH): Sir
Sorry, they need the uniform.
They have a deadline
and must start manufacturing.
(EXHALES)
Good. This is what we'll do.
This is the uniform.
We finish sewing the buttons,
and you send it so they'll calm down.
But, and this is a personal order,
until we have the stewardesses sizes,
we won't make anything.
The stewardesses sizes?
When will we do that?
Emphasize that. We'll handle the rest.
Thank you.
- (KNOCKS ON THE DOOR)
- CRISTÓBAL: Yes?
(IN SPANISH) Jerome tells me
that he doesn't have the sizes.
For more information,
he will contact Monsieur Grunberg,
so that we can discuss the situation.
But what does that
have to do with Grunberg?
He's the director
of a manufacturing factory.
Yeah, well, but we're asking for
(TELEPHONE RINGS)
(IN FRENCH) Yes? Yeah, forward him to me.
- Hello?
- GRUNBERG: Good morning,
I'm Mr. Grunberg.
How are you, Mr. Balenciaga?
CRISTÓBAL: They told me you were calling
to talk about the stewardesses sizes.
GRUNBERG: Me? No.
I was calling to see
if you'd like to come.
But they told me
Okay, we're going off track.
I think I could stop by your factory
by the end of next week.
As soon as I have the stewardesses sizes.
GRUNBERG: Ah.
But then you won't see your suits
being made, Mr. Balenciaga.
What do you mean?
GRUNBERG: We'll probably
finish manufacturing next week.
What?
GRUNBERG: It's being made
following the designs you sent.
(ENGINE WHIRRING)
You must stop immediately!
I ask that you remain calm.
It was for guidance, my God!
Where is the dress we sent?
Mr. Balenciaga,
we can't use a design for reference
if it's adapted to a real silhouette.
It's like assuming that all stewardesses
will have the shape
as the model that you used,
but in a different size.
But it must be tested on a real body!
- It makes no sense otherwise!
- Mr. Balenciaga.
If I may, I think you're trying to impose
your own rules on prêt-à-porter,
and that won't work.
We make a generic model here.
The pieces are fitted for each size,
and all people
fit into one of those sizes.
That makes no sense.
But how did you think it would work?
Come with me and you'll see.
Laurent, could you explain it again
to Mr. Balenciaga?
Yes, it'll be a pleasure.
Remember that I told you
we made sizes 38, and 40, 42?
Let's see, 38, 40, 42
Are we making dresses or playing bingo?
Stop this!
(IN SPANISH) Calm down.
(IN FRENCH) Stop, please!
Stop!
Stop these damned machines!
- Can you stop?
- (MACHINES WHIRRING)
Can you stop, please? Stop!
Stop! Stop!
Stop!
(EXHALES DEEPLY)
I didn't know how I had
let them drag me into that.
I felt like I had tricked myself.
(IN FRENCH) This is not
what I was promised, Mr. Galichon.
Your word means nothing.
I talked to Mr. Grunberg,
and I have little else to say,
Mr. Balenciaga,
this is how you mass produce.
So we've gone from "fly freely with us"
to "it is what it is."
I don't want to end things like this.
I assure you, our vice president will do
everything he can to fix this issue.
You said some stupid things
to convince me.
We're sure they will look beautiful.
You'll see.
Good.
Then, if you don't want me to resign,
you'll have to let me do things my way.
Good afternoon.
(DOOR OPENS, SLAMS)
ORLY AIRPOR
PARIS, 1968
(ANNOUNCER SPEAKING OVER
LOUDSPEAKERS IN FRENCH)
(SOFT PIANO MUSIC)
Come in, please.
This way.
Step here, please.
- Florette.
- FLORETTE: Yes?
That's it.
FLORETTE: You can take off your uniform,
we'll call you when it's ready, okay?
(DRAMATIC MUSIC)
CHANEL: What would you do
if you made prêt-à-porter?
You're a king.
A king!
(INDISTINCT CHATTER)
(CRISTÓBAL EXHALES)
- (KNOCK ON DOOR)
- Come in.
CRISTÓBAL: That took you a while, huh?
You had a lot to say?
Well
Air France executives say
that they are satisfied.
They think the design is beautiful.
What's the problem this time?
There are issues with the sleeves.
Some stewardesses have complained.
Some stewardesses?
It seems that the jackets are short
and they raise up when
the stewardesses lift their arms.
And the sleeves are uncomfortable
when opening and closing
the overhead trunks in the plane,
because they are short.
They've also complained
that the front pockets
make them feel like kangaroos.
What? Like kangaroos?
Some have already talked to the press.
The press?
To Paris Match.
(LAUGHS)
It seems that anyone
can talk about my work.
Why did we accept this job? My God.
The clients have always
shared their opinion.
If a Texan multimillionaire
expressed her doubts in the testing room,
that's one thing.
But if the Air France stewardesses
do the same,
and their opinion
is reflected in the media
That's something else.
- Very different.
- That's prêt-a-porter.
If everyone can dress,
everyone can have opinions.
(IN SPANISH) Look at that
Their jackets don't raise up as much.
They were right.
Do you know what bothers me the most?
Having failed with the sleeves, Ramón.
With that
which has been my biggest
obsession my whole life.
You're getting used to sewing
for ladies that don't
lift their arms, Cristóbal.
There's nothing shameful about that.
BALENCIAGA - EISA
MADRID, 1968
(ENGINE RUNNING)
CRISTÓBAL: Hello?
Where's everyone?
What are they doing here?
(SIGHS)
(INDISTINCT LAUGHTER)
And what do they want now?
ALL: Surprise!
- (APPLAUSE)
- (CHEERING)
Well, well, well
That's it, that's it.
- You all look like mess.
- (LAUGHTER)
If your father saw you,
he'd have a lot to say.
Well, we had to celebrate
the Air France thing.
Of course And not only that.
I'm sure you don't remember,
but in September it'll be 50 years
since you debuted your first collection
in San Sebastián.
- Really?
- TINA: You're so forgetful!
September, 1918.
Dad always talked about it.
- TINA: Always.
- MARTI: Always.
I was 23!
- A brat!
- (LAUGHTER)
I knew nothing about anything!
MARTI: You knew something.
- (LAUGHTER)
- Of course.
TINA: Uncle, have you started
preparing your next show?
We look forward to it.
The last showcases have been beautiful.
- TINA: Yes.
- I won't live forever.
TINA: Uncle, please, don't say that.
FELIPE: You're young as a spring chicken!
- (LAUGHTER)
- MARTI: Yes, you look fabulous.
- MARTI: Look at you.
- TINA: Of course, uncle.
(SIGHS)
Did you see them?
They looked like vultures,
opening their mouths
and asking for more and more.
Don't let uncle Cristóbal stop
until he dies!
- (SIGHS)
- What were you expecting, Cristóbal?
To be understood.
Not one considers the possibility
that I might quit and rest. Not one.
Once I die, they might dig me up,
dress me and take me to the workshop.
(LAUGHTER)
Can you imagine your nephew
Juan Cruz as a ventriloquist?
- (LAUGHTER)
- RAMÓN: Giving you a little voice
- while Fabiola visits?
- (LAUGHTER)
"Hello, I'm immortal Cristóbal,
how are you?"
(LAUGHTER)
"I'm here for you forevermore."
- CRISTÓBAL: Please, stop.
- (LAUGHTER)
Balenciaga makes no sense without me.
I couldn't live like that.
I have tried
but that's it.
You understand.
Right?
(SIGHS)
NARRATOR: Through the correspondents
in Belgium
PARIS, MAY 1968
STUDENT RIO
we received this
RAMÓN: Cristóbal, come here.
You have to see this.
NARRATOR: that were triggered
with Paris student riots,
strikes and occupations in factories.
From dusk to dawn, uncontrolled elements,
mixed with revolutionary groups,
have unleashed in the capital,
scenes of violence as never seen before
They're close to the Maison.
NARRATOR: Clashes between protesters
- That's Montaigne Street, right?
- Yes.
NARRATOR: with hundreds of wounded,
and the damage,
in hundreds of millions of francs.
CRISTÓBAL: That was
let's say, I understood it
as a definitive sign
for me to close up the Maison.
There was no place for me
in that new world
that had appeared out of thin air.
(CLEARS THROAT) That's how it went.
PRUDENCE: Why couldn't
the Maison Balenciaga continue
without Cristóbal Balenciaga?
Why not let others handle it?
It wasn't just a company.
It was a part of me.
Like an extension of my body.
How can a body survive without a brain?
If I may, that body, as you call it,
wasn't only built by you.
The Maison's workers
were also part of that body.
- No
- PRUDENCE: Don't you think
that your work is also built
with the people that surround you?
Don't you think they are
part of your work as well?
RENÉE (IN FRENCH):
According to the agreement,
your pre-warning will last three months
from the moment
you are notified of your dismissal,
that, I warn you,
will be on the first of June.
Soon,
you will get a dismissal letter
with all the information.
But why? Is there no explanation?
We're working to relocate
as much people as possible.
The Maison will compensate everyone else.
Where is Mr. Balenciaga?
Huh? I will sue him!
WOMAN: Where is Mr. Balenciaga?
(INDISTINCT CHATTER)
RENÉE: Silence!
Silence, please. Silence.
Silence!
(WORKERS SHUSHING)
Continue.
RENÉE: As you know,
we are still working on the pending orders
until we close the shop.
And, as you know,
you have 50 hours of leave per month.
For your leave, we'd like you
to coordinate with your coworkers.
- Otherwise
- Why do you want to close?
- WORKERS: Shh.
- RENÉE: In this case
WORKER: Stand up and answer!
- (WORKERS SHUSH)
- (INDISTINCT WHISPERING)
Thank you, Miss Renée.
Some will accept us closing.
Others are already thinking of suing you.
Yes. I know, I know.
They have that right.
If I may
I think you should have spoken.
Many workers admire you.
They've worked with you their whole lives.
(DOOR OPENS, CLOSES)
DEAR MR. MOREAU, AS YOU KNOW,
MAISON BALENCIAGA
DEAR MR. RICHARD,
AS YOU KNOW
DEAR MR. DURAND, AS YOU KNOW,
MAISON BALENCIAGA
DEAR MISS ROBERT
CRISTÓBAL: I relocated many people,
I paid compensations.
But it's also true that two seamstresses
spent months in front of my house,
waiting for me to come out
to ask me for an explanation.
Well, it's not just that, right?
What do you mean?
PRUDENCE: I understand that 103 workers
from the Spanish workshops sued you.
The courts ruled in my favor
every time they've appealed.
But now they've done so
in the Supreme Court.
How do you know that?
It's my job.
That is a matter for my lawyers,
and I won't speak about it.
I can only say
that my conscience is clear.
I've been consistent my whole life.
I worked from the time
I was 12 until I was 73.
My life has been my job.
I didn't know how to do anything else.
And the life of a couturier
is no fairytale. Sometimes
it's more like a dog's life. A
(IN FRENCH) dog's life.
(IN SPANISH) I think I have a right to
retire.
And rest easy.
Don't you think?
Well,
if you have nothing else to say,
I think we're finished.
Thank you, Mr. Balenciaga.
You've been very generous.
An extraordinary hour
to start making dinner.
(SIGHS)
Well, Maritxu
(IN EUSKERA) Cristóbal,
will the guest stay for lunch?
No, she's leaving tomorrow.
Breakfast is enough. Thank you.
- You turn off the light?
- Yes, don't worry.
Okay.
- Good night.
- Good night, Maritxu.
(CRISTÓBAL'S VOICE IN SPANISH): I'm just
a craftsman working for clients.
(PRUDENCE'S VOICE):
Why is it so hard for you
to admit that you are an artist?
CRISTÓBAL: An artist
In my town, they would tell you
that it is almost a sign of baseness.
(TAPE CLICKS)
(RAMÓN'S VOICE):
It was incredible, I couldn't believe it.
Six motorbikes flanked us
all the way to Laeken Palace.
CRISTÓBAL: That's something prêt-à-porter
will never achieve,
being flanked by six motorbikes.
I'm not being nostalgic.
(TAPE CLICKS)
(SIGHS)
What's wrong?
I heard my voice.
RAMÓN: When?
Prudence is listening to her recordings.
It's horrible
I couldn't recognize myself.
Is my voice that terrible?
You sound normal to me.
We sound like two hicks
from Bilbao talking about a dress
flanked by six motorbikes. It's
(IN EUSKERA) Relax, Cristóbal.
(SIGHS)
(IN SPANISH) I don't know.
I think I've said too much.
Come on, turn off the light.
(DEEP BREATHING)
- Good morning, everyone.
- Good morning.
Good morning.
Yes, thank you.
I was thinking last night,
really thinking about what you recorded.
If you want to say something else,
we have time, sure.
I don't want you to publish
what I said about the copies.
I think it could be misinterpreted.
- Okay.
- Mm.
Don't write anything about Chanel, either.
Maybe just say
that she's one of the designers
I admire most.
About the Maison shutting down,
you don't need to give too many details.
I think I spoke too much.
Mr. Balenciaga
my interview will be one page long,
and I've been here for three days!
My bosses will think
I've been on vacation.
Don't say that, Prudence.
We've discussed so many things.
Well, what I said about Fabiola's dress,
- don't mention it either.
- No! You can't do this to me!
I had to convince my editor too!
You're playing with my reputation!
I'm just saying that I think that
what I said could be misinterpreted.
Then let me write the article freely
and then you can greenlight it and fix it.
No. It wouldn't work,
because today I have an opinion
and tomorrow, another.
Don't you think that what you'll achieve
is the opposite of what you want?
In a few years,
when people talk
about Balenciaga, they'll tell stories.
They'll speculate and make up things
from what little has been written.
At least no one will say
that they have the truth.
I'm okay with that.
As people say
you own your silence,
and are a slave to your words.
You and your sick need for control.
It's always been like this.
That's the real reason
behind you shutting down the company.
Your need for control.
No wonder the workers sued you!
I'm sorry, I shouldn't have said that.
But you did.
And you are partly right.
But did you know that if the workers win,
they could make me reopen the company?
At this age! I don't think it's fair.
You could let others
carry on with the company.
Free yourself just this once!
And let them sign with my name?
I am Balenciaga!
Is that so hard to understand?
Can you imagine people
making Picassos without Picasso?
You finally admit it.
What?
That you're an artist.
You see yourself as an artist.
Are we ready?
She said she'll come down soon.
She'll be late to the airport
if she doesn't rush.
- Thanks.
- RAMÓN: Lunch lasted too long.
- Well.
- (SIGHS)
I'm sorry for what I said earlier.
I'm the one who's sorry.
I'll write the interview
and send it to you before publishing it.
I trust your professionalism.
Have a nice trip.
See you, Miss Glynn.
(ENGINE STARTS)
(SOFT MUSIC)
JAVIER: We're almost there, madam.
CRISTÓBAL: Look at the Getaria mountains.
When I die, I want to be buried there,
in the family mausoleum.
With my parents and siblings.
I thought you might
want to be buried in Paris.
With Wladzio.
I think I need to make a will.
I'd like to secure your future, Ramón.
But I'm scared.
Of what?
What they might say once I die,
what they might say about us.
Would it be that bad?
IN AUGUST 1971, "THE TIMES"
ANNOUNCED PRUDENCE GLYNN'S
INTERVIEW AS A "WORLD EXCLUSIVE"
CRISTÓBAL BALENCIAGA DIED
A YEAR LATER OF A HEART ATTACK
RAMÓN ESPARZA WAS
WITH HIM IN HIS LAST MOMENTS
IN 1986, CRISTÓBAL BALENCIAGA'S HEIRS
SOLD THE BRAND AND ITS ASSETS
TODAY, BALENCIAGA IS ONE OF THE BIGGES
FASHION BRANDS WORLDWIDE
(END THEME MUSIC PLAYS)
Subtitle translation by:
Pilar Hernandez