Ebersole Hughes Company
When you think of the world of fashion, the names of a few iconic designers immediately come to mind – Chanel, Balenciaga, Dior, Saint Laurent, Gucci and Cardin. Those names usually trigger images of slinky models and flashy celebrities in outfits that no ordinary person could ever afford. They look good on the runway and the red carpet, but not something the average woman would wear. But the new documentary about fashion designer Pierre Cardin, House of Cardin, paints a picture of a man who felt fashion was for everyone.
The first thing the film reveals about Cardin is probably the most surprising — he’s Italian, not French. His family fled Italy to escape fascism and made their way to France. His father wanted him to be an architect but young Pierre (Pietro) was interested in dressmaking. After moving to Paris and finding some employment in fashion, Cardin seemed to have fallen into a job with Dior, who was impressed enough with his work to eventually support the founding of his own fashion house. And the rest, as they say, is history.
Cardin was initially influenced by the likes of Jean Cocteau and Jean Marais, as Cardin was involved in the making of the costumes for the classic French adaptation of Beauty and the Beast (La Belle et la Bête), but Cardin was interested in more than just high fashion, the first designer to turn to Japan as a high fashion market, and all of his influences led him to create a ‘ready-to-wear’ line of clothing for the average shopper … something that got him expelled from the Chambre Syndicate.
But Cardin forged ahead as he became a household name, finding inspiration from the 1960s space race and futurism, creating designs that he felt were of the future and not just the present, very much influenced by the circle, a shape with no beginning or end, something that could be worn for years to come (but looking back at his 60s futuristic designs, it’s obvious they are rooted firmly in the 1960s and would seem out of place today). But the future of the 1960s gave way to the mod chic of the 1970s, and Cardin kept his pulse on the finger of the consumer, the real people who would wear his clothing. As Cardin’s fashions became more popular and accessible, he became a master at branding, allowing manufacturers around the world to duplicate his designs — to the House of Cardin’s specifications right down to the material that was to be used — in exchange for the use of his name on the products. And as that branding expanded the world of fashion for him, he also began putting his name on everything from furniture to lighters. Many in the fashion world just thought he was trashing his reputation, especially when it seemed there really was no oversight into what his name was branded on, but Cardin has had the last laugh as his success has led him to other ventures outside of fashion, allowing him to indulge in one of his true loves — live theatre. He even bought the famous restaurant Maxim’s in Paris (for a very specific and humorous reason) and expanded that to several locations around the world.
Ebersole Hughes Company
House of Cardin, which is mostly subtitled with some English, features a host of Cardin’s closest associates, some who have been with him for decades, as well as other fashion icons like Jean-Paul Gautier (who got his start with Cardin), and models and celebrities like Naomi Campbell and Sharon Stone. All tell their stories of Cardin’s influence on fashion and themselves. Campbell, in particular, is thankful for Mr. Cardin because he was one of, if not the first designers to put a model on the runway who wasn’t White, opening up doors for people of all races and ethnicities in the world of fashion. The film also delves into Cardin’s personal life, detailing his great love affair with French actress Jeanne Moreau while in a relationship with designer André Oliver, who complimented Cardin’s tailoring skills with his own soft, fluid clothing. Sadly, the film doesn’t delve that deeply into the relationship with Oliver, focusing more on his very public relationship with Moreau.
What really benefits the film the most, aside from the input from those who’ve known and worked with him for decades and those who have been influenced and impacted by his output, is the participation of Cardin himself, still spry at 98 years old (96 or 97 when the film was made). Cardin is able to tell his own story firsthand (although he seems hesitant to speak much of Oliver), which makes the film all the more essential. He may embellish a bit, such as telling his mother he went blind at the age of two as their train to France passed through a tunnel, but he is quite frank when discussing his work and his career and his loves of architecture and theatre. And he’s unapologetic on the topic of branding, even when it seems that some licensees are taking advantage of things and slapping his name on anything and everything. His name has afforded him a lifestyle that he enjoys, and he knows he has people — particularly close family members — who are overseeing his legacy.
House of Cardin manages to cover a lot of ground in its short running time, full of archival footage and an in depth look at the man who really changed the world of fashion. It’s enjoyable and informative, and having Cardin on hand makes this more than just a monument to the man. The twinkle in his eye as he discusses his life is the real testament to Cardin’s career and influence, proving that old cliché that you should pursue your dreams and don’t let others dictate how to live your life. Not everyone can be a Pierre Cardin, but following your dreams can give you a happy life. It’s safe to say Cardin has had a very happy life.
House of Cardin has a run time of 1 hour 37 minutes and is not rated.
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