France’s answer to Succession is here. Meet Apple TV’s latest and hottest series, La Maison, not to be confused with the 2022 erotica of the same name. La Maison is the unraveling of a haute couture dynasty sprinkled with betrayal, backstabbing, and, excuse my French, bitchiness with a dash of fashion.
La Maison Plot
High fashion and high stakes, an iconic fashion house is thrown into scandal and reinvention. Lambert Wilson stars as Vincent Ledu, who leaves his family’s iconic and legendary haute couture house, LEDU, hanging by a thread. His fall from grace was swift and devastating, brought by a racist rant against Asian clients captured and went viral, leading to his cancellation and unwilling resignation. Perle Foster, played by Amira Casar, Vincent’s decade-long muse and shadow, joins forces with visionary next-gen designer Paloma Castel (Zita Hanrot) to try and save, renew, and evolve the century-old Maison LEDU.
Carol Bouquet plays Diane Rovel, the ruthless CEO of Rovel Luxury, who takes LEDU by the throat to acquire its company as a prize. The richest woman in France, her ambition is to buy everyone out. Everyone in this series has a dark secret that may unravel the remaining bare threads holding them together. Vincent’s brother, Victor, played by Piere Deladonchamps, is the boss of Rovel and a shareholder in Ledu.
Victor married Diane’s daughter but is having an affair with Perle Foster. Victor and Vincent’s nephew, Robinson (Antoine Reinartz), possessed with a fragile ego, squanders any opportunity to make a name for himself, crushed by the pressures of having the famous family name and possessing a weakness for pretty men of the office. A rich history of fabric, thought to be threatened by modernization, is in jeopardy, and everything is bursting at the seams.
Giving Succession A Run for Its Money
The brainchild of executive producer Alex Berger, famous for producing the French spy series “The Bureau,” La Maison is about two feuding factions vying for control. The storyline recalls the legendary fight between real-life luxury magnates Bernard Arnault and François Pinault for Gucci in the 1990s. In a joint interview with showrunners Valentine Milville and José Caltagirone, Berger explains how he wanted to show that even those families in the 0.01 percent are just as dysfunctional as ours.
Caltagirone stated they were interested in the dichotomy between the glossy image and the ferocity of the relationships that underpin it. Akin to people’s obsession with royal families, La Maison was made to make viewers feel closer to them and reassure them that they, too, have problems.
Final Thoughts
Like fabric, La Maison shows the beauty, the luxury, and the ugly parts, like rotting and fraying, that most aren’t willing to admit. Everyone in this series rages, backstabs, and betrays, but it’s what makes them so vibrant. Bad behavior looks so enjoyable until the game becomes more vicious. With arrogance, defiance, denial, and a family whose favorite dish is to eat each other alive, La Maison might make one appreciate the psychodrama that shows how family can be your biggest enemy. Perhaps this year’s most cunning and deceptive series, La Maison’s first two episodes are now available on Apple TV. New episodes would be released weekly.
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