Kingdom of Dreams (2022): Season 1, Episode 1 - Chapter 1 - full transcript

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(gentle music)

- [Caryn] Fashion is a
dream maker, a myth creator.

- [Interviewee 1] It's
a fantasy. It's a dream.

- [Caryn] The illusion,
the magic, the desire.

- [Interviewee 1] You
can be something else.

- [Caryn] It's almost like it's a spell.

- [Interviewee 1] You can
become another character.

- [Caryn] You, too, could be transformed.

- [Dana] The Kingdom
of Dreams is this realm

focused on creating fantasy.

- [Interviewee 2] Something
that was so beautiful,



so tempting.

- [Dana] Which was transformed
into a global industry,

run by tycoons who saw
the value of these dreams.

- What is interesting
is to make people dream.

- [Dana] And turn that
into beautiful profits.

- [Tim] It was fashion's golden era.

- [Andre] Great excitement, great beauty,

ravishment, wonderment.

- [Mimma] You don't get to that level

if you're not driven by power and money.

- [Dana] Greed and envy are what drive

the Kingdom of Dreams.

- [Tim] As the conglomerates
amp up the pressure,

they amp up the indulgence.



- [Marc] When I pick up a
drink or pick up a drug,

it gets out of control.

- [Nico] You live in the world of dreams,

you are like a king.

- [John] Sometimes I was acting like God.

- [Nico] Everybody applauds
you, everybody celebrates you.

- [John] And after each creative high,

there'd be this crash.

- [Amanda] He was crying for help.

- [Nico] And then
suddenly, out of the blue,

you are nothing no more for nobody.

- [Tim] He was in the belly of the beast,

and he was furious at selling his soul.

- [Alexander] I don't beat
around the bush when I do a show.

I go straight for the jugular.

- [Leslie] You've got to
love what's at the core

of the industry, or it will kill you.

And even then, it'll kill you.

(gentle music)

(gentle music continues)

(gentle music continues)

(gentle music continues)

(gentle music continues)

(dramatic music)

(dramatic music continues)

(dramatic music continues)

- Did you say, "If
they're going to kill me,

I shall kill them"?

- Yes, I say that at the
beginning, yes, absolutely.

- Money is a terrible drug.

(upbeat classical music)

(upbeat classical music continues)

- I remember the first
time I met John Galliano.

He was on the cusp of being a big deal.

This guy wanted to be the top.

John had a breakthrough
show, where normally,

models walk down, they
pose, they pose, they twirl.

These girls looked like they
were fleeing from wolves.

Where they're like, "Now,
this is interesting.

What this guy from London's
doing is really interesting."

- John Galliano rules, man, slammin'.

- God bless. Woo!

Fashion will have a future
with people like John Galliano,

people who have great imagination

and create entire collections
with no money, no financing.

- You know, this is a young guy

which is like doing everything
on a string, a shoe string,

and he should deserve an
incredible sort of life success

because he's got the
most extraordinary mind.

- I just do what I believe in.

- [Interviewer] And what
is it you believe in?

- The joy of dressing.
The joy of dressing.

- We all knew that he had something,

but what he did struggle with
was finance and investment,

and so you never quite knew

if he was gonna be able to stay afloat.

(gentle music)

- Hi, I'm John Galliano.

- How did I meet John Galliano?

Well, to tell you the
truth, I'm not quite sure,

but I think it was in a nightclub.

In London, everybody's from nowhere.

We all reinvent ourselves,
and we were looking

to try and find the person
that we wanted to be.

- You'd get in and you would
just see this array of people

who had plundered theatrical outfitters,

who'd made their own outfits,

because they were fashion designers

who'd put something together
from a vintage look.

"What's she wearing? Where
did she get that from?"

For John, this was a place in
which he felt safe to dream.

(crowd chattering)

- Can I show you a-

- [Model] Surprise me.

(gentle music)

- So this one is actually,
looks like a shirt.

But what we do is we put it
on, button it down the front,

and then wrap the sleeves round the back

and tie it in a knot.

So it's like an extension of the skirt.

Everything's slightly
off, not quite right.

- Of course you got whispers,

there would always be whispers of,

"This person is really,
everyone's talking about them."

But there was something about him,

his attention to detail,
the stories that he created,

that made him someone to watch.

(audience applauding)

- A friend of mine said,

"You should go and see this student,

John Galliano's work, at St Martin's,

he's just done his degree show.

It is so beautiful, it is incredible,

called Les Incroyables,
French Revolutionaries

who broke in to the palaces
and ripped the curtains

and made their dresses,
and I mean, electrifying."

So I invited him to come
and have tea with me,

and so begineth the wonderful,

fantastic journey.

(gentle music)

I think we both believed
in the Kingdom of Dreams.

You'd believe in the dreams
and make the dreams real.

- [Reporter] The winner of
the Designer of the Year Award

is 26-year-old John Galliano.

His is a meteoric rise in the
competitive world of fashion.

(gentle music)

- Working in London,

we always thought that
it was a little pond.

The huge lake was Paris.

- London actually was the place
where there was a collision

of really exciting ideas and more freedom,

but Paris was established fashion.

So, to get to Paris was the aim.

(dramatic classical music)

- [Bernard] You know, to be
successful, you need to dream.

You do not need to be a
dreamer, but you need to dream.

And when you dream, you can
do things that are impossible.

- Bernard Arnault is like
the guy who plays Monopoly

who wants to own all the
properties on the board,

and he won't stop until he does.

- What he really wanted
to be was a very rich man.

The richest man in the world.

- Looking at these home
movies of the Arnault family,

there's nothing in these glimpses of

provincial bourgeois
life that would suggest

Bernard Arnault was destined to run

the greatest fashion empire
the world has ever seen.

- [Bernard] I was brought
up in the north of France,

and I had a very enjoyable childhood.

And then I went to work with my father.

(door opening)

- Bernard Arnault cropped up
on my radar in the mid-80s,

when he took over a company
that was called Boussac

that was, at one time, a very
prosperous textile company,

but it had fallen upon hard times.

And there was a gem in the Boussac empire,

and that was Christian Dior.

- Christian Dior was the most
famous fashion brand ever

when it was at the top
of its game in the 1950s.

- Bernard Arnault saw that there was

a real business opportunity here for him

and didn't have too many scruples about

the methods that he thought were

the ones that would help
him achieve his aim.

(tense music)

(upbeat music)

- You know, it seems as though most of us

at one time or another
have worn, sprayed on,

or consumed something produced by a

$30 billion conglomerate
controlled by a man

called The Sultan of Chic.

Fashion industry consultant Christy Ferer

says Bernard Arnault is
the most talked about man

in the fashion world today.

- [Bernard] We were beginning
with the best name on Earth

for luxury products,
which is Christian Dior.

And I decided that it was possible

to build on that, something larger.

- [Dana] He started buying up
all these old family brands.

- Bernard Arnault had worked in

the United States for a while,

and I think that's when
he learned the rough

and tumble of American business.

He knew about takeovers
and hostile takeovers.

- Bernard Arnault took over LVMH Group

in a very acrimonious boardroom battle.

And the French press and the
French fashion establishment

were outraged, outraged.

- [Bernard] We try to
build a large business

with one criteria, the best quality

and the most elitist product in every line

that we are selling throughout the world.

- Until this moment, the
luxury business in France

was family-run, family owned.

The Vuitton family had been
running the family firm

for more than 100 years.

Arnault takes over the
group, and little by little,

he starts weeding it of people
he doesn't want in power,

mostly family members.

They didn't matter, they could go.

- That's his modus operandi.

He doesn't even think
about the fact that people

are not commodities to dispose of.

When you know Arnault's nicknames,

like the Wolf in Cashmere
or The Terminator,

I mean, that's self-explanatory,

you don't even need to
know more, you know?

I think he wants to be a wolf

because he needs people
to be afraid of him.

- The best one is Dom Perignon, all day.

My vision of the future is
that in 10 years from now,

there will be fewer and fewer brands,

and that will give even more power

to the brands on the market at that time.

- And now it's a sprawling luxury group,

including Christian Dior,

Louis Vuitton, of course,

Moet & Chandon Champagne, Hennessy Cognac,

Givenchy, Celine, lots and
lots and lots of brands.

Household names.

- He was something of a pioneer

and something of a disruptor.

He brought no-holds-barred
capitalist methods

not only to a continent that
was not really used to that,

but to an industry that prized
elegance and good manners.

(gentle music)

- [Interviewer] Why Paris?

- [John] I thought we'd bring

a little bit of London to Paris.

- [Interviewer] Was it
always a dream of yours

to be in Paris?
- Yeah.

- I snuck into every show in the world,

and I snuck into Galliano's show,

and it was the most
beautiful show I ever saw.

And from that moment, I
fell in love with him,

and he was my idol.

I thought I was living in a dream, like,

I thought I was the luckiest
person on earth, right?

(Jenne laughs)

And, like, I wasn't paid
for practically two years.

- What are you doing?

- For me, it was like light.

You wanted to step into John's light,

otherwise it was total
darkness and blindness,

and you would lose your way.

(gentle music)

- He understood the historical aspect

of fashion design, the
whole world of fashion.

The grandeur, the glamor.

- I'm a bit of a romantic. (laughs)

The early couturiers are an endless

source of inspiration to me.

Balenciaga, Dior, it's
just wonderful to study

the way they put their clothes together

and the under structure.

They have, like, wonderful
museums in London,

like the Victoria and Albert Museum,

where you can go in and actually
sort of get inside a dress

and look at the way it was put together

by the great masters, which is great.

- Oh my god, he loved the
glamor and the early fashion,

'40s, '50s Dior haute couture photography,

and he loved the poses.

I think he wanted to
be a big couture house,

which was unheard of at the time, like,

there was no new couture houses,

that's the whole point of couture.

- And he wanted financial stability.

He was tired of having to
scramble around finding backers

and scramble around finding money

and scrambling around trying
to keep things afloat.

- Potentially there was no collection,

'cause there was no backer
and there was no money.

And our feeling, a bit
like a group of pirates

on the deck of a damaged frigate,

turned to our captain.

It's like, "Well, what are we gonna do?"

(upbeat music)

- [Interviewee 1] It's often said that

if you want to succeed
in the world of fashion,

you need Anna Wintour's blessing.

She is simply the most powerful
woman in this industry.

- [Anna] I don't think
of myself as a boss.

I mean, I think of myself as someone who's

giving direction, guidance.

I try and be decisive,
even if I don't know

what the hell I'm doing,
I try to be decisive.

Bruce, how you doing?

I'm not a believer in long
memos or endless discussions.

- [Reporter] The blurb on your
unauthorised biography reads,

"She's ambitious, driven,
needy, a perfectionist."

- Anna, straight ahead, Anna!

- Well, I'm very driven by what I do,

I am certainly very
competitive, what else am I?

Needy, a bitch?

- Perfectionist?
- Perfectionist.

- Well, let's try bitch first.

- Well, I grew up in London in the '60s.

Fashion was exploding, I mean,
it was such a time of change,

and all the cultural
rules were being broken

and it was an extraordinary
thing to behold.

I mean, the duchesses were now
sitting down with designers,

not something that had happened before.

I was always convinced that I
wanted to get into journalism.

My father was a newspaper editor
and my mother was a writer,

so journalism was something that

I was brought up with in my house,

so I think I got a taste
for it at an early age.

(designers chattering)

- It's not just a fashion magazine.

If you get the cover of American Vogue,

you have made it in America,
and it is a stamp of approval.

So, from a designer's point of view,

if you can be included in
the pages of American Vogue,

you are part of the Anna
Wintour vision of life.

- Well, I think I first met
John when he was a rising star

on the British fashion scene.

(gentle music)

We really became friendly when I became

editor of American Vogue and his company

was in such dire financial straits.

It isn't often that you
meet a great designer,

and it isn't...

I mean, if you think
about the great designers

that have really changed
the way women dress

or look or how we think about fashion,

but immediately when you
saw what John was doing,

you realised that he was one of them,

so it was a...

I mean, it was just
that we had to help him.

I mean, it was just, there was no question

that we had to keep this man going.

- Of course I love Paris, it's wonderful,

it's the Mecca of style.

It's the centre of the
universe for fashion,

so I couldn't be in a better place.

- Andre Leon Talley was the
eyes and ears of Anna Wintour,

as he would always tell
us, and he'd be like,

"I am the eyes and ears of Anna Wintour."

(telephone ringing)

- For you, Mister.
- Oh, naturally.

- It's for you.
- I didn't plan this.

Hello? Yes, hi.

What time is it now? 10 minutes, bye.

10 minutes, and then we'll go.

That was Miss Wintour.

(gentle music)

- [Jenne] Andre Leon Talley
is trying to find people

to help John to get the
financing to do the next show.

- So, Andre gets Sao
Schlumberger to agree to let John

use her empty mansion
to stage the show in.

(gentle music continues)

- I like to recognise talent,
and we should help each other.

- I had my brief from John
and from Amanda Harlech,

and I showed the hats and I said,

"And the alterations, we're
gonna change this, change that."

And he said, "No, they're
just great as they are."

(laughs) I was gobsmacked.

(people chattering)

- This show was put together
literally with hope and love.

And a lot of black fabric,
because that was the cheapest.

- And he borrowed jewels,
big diamond brooches

and clips in their hair, so
it just amped up the glamor.

- Everything was at stake with that show

because we needed to get sales,

otherwise we were gonna
have no future, that was it.

- We had to make it work.

We had to make it work.

(glass tinkling)

- [Amanda] Each outfit
was completely different

and unlike anything anyone
had ever seen before.

- We were all told who
we were supposed to be

and how we were supposed to act

and how we were supposed
to walk around, and, like,

you know, it just created
this, like, intense atmosphere.

- Just before Kate Moss went out,

John and I were tying
her into her obi sash.

John was pinning her one side

and I was pinning the other side,

but it was like there was one person.

And it was a fairly magical moment.

We just looked at each other

and knew that we had done good work.

- It's quite funny, like, when
Linda said the famous quote,

which is so hilarious, that
she wouldn't get out of bed

for less than $10,000, and it
was totally true at that time.

But yet Linda Evangelista, Kate Moss,

Naomi Campbell, Helena
Christensen, Michele Hicks,

these girls loved John so much.

Of course they would do the show for free.

You know, they would do anything for John.

(audience applauding)

- And you knew in the applause

that something incredible had happened.

(audience applauding)

- [Anna] It really was a
moment that changed fashion,

and I think for all of us that were there,

it was one of the defining
collections of our lives.

There are moments like
that when you sit there

and you think, "My god, this
is gonna change fashion."

And that's when I think the world woke up

and recognised John for who he was.

(gentle music)

Bernard Arnault recognised his talent,

and it was through the
success of that show

and the attention, the media attention,

and the incredible reviews that he got,

that John was on his radar.

- At that time, some of
Arnault's brands were tired.

They weren't exciting anymore.

Givenchy had become dusty and old.

Stale.

- [Dana] It had been a sleepy
couture house for a while.

The house was kind of fuddy duddy

and dressing these old
Park Avenue ladies still,

and there was a whole new
generation of potential

couture clients who were not
being tapped by Givenchy,

and Arnault saw that potential.

- He consulted everybody.

Obviously Anna Wintour,

and a lot of people in the fashion scene,

to try to find out who
would be the personality

that was gonna bring buzz
and excitement to Givenchy,

and something that they
could market around.

- Anna Wintour's always
been the tycoon whisperer,

you could say.

She might just say to them
over dinner one evening,

"You know, you should keep
an eye out on this guy,"

or, "Maybe you should go see
that show that's coming up."

She'd whisper in their ear a little, like,

"You should keep an eye on John Galliano."

A meeting was set up for John to meet

Bernard Arnault at the LVMH headquarters,

near the Arc de Triomphe.

They came up with this deal where

John would go to Givenchy
and work at Givenchy,

but Arnault would also take control of

and back the Galliano line
that had been struggling.

- This was a big experiment.

Mr. Arnault had never done this before.

I mean, this was gonna
be a big learning curve.

- [Bernard] Obviously at
the time, it was a risk,

but I was comforted by Anna
about what he could do,

and finally, I took the risk.

She has an eye, to have an eye is key.

- [Anna] We can advise, we can't dictate,

and obviously, in the end, those gentlemen

are very capable of
making up their own minds.

- But they had the remarkable habit

of going along with your ideas?

- Well, we can only point
them in that direction.

(gentle music)

- Any designer looking for investors

knows that there's
going to be a trade-off.

And the only thing that that designer

can give to the investor is their name.

They have no other collateral.

Which means that if the designer
dies, quits, or whatever,

then the investor can keep
the business rolling along.

- There was a whole spate of designers

in the 1990s who lost their names.

They were literally bounced
out of their own companies

and they were not allowed
to use their names.

And even when that happened,
those cautionary tales,

John still sold his name to Arnault.

(gentle music)

- We started to research into

Monsieur Givenchy's earlier work.

This is actually Audrey's
dress, the real thing.

This is an original that
Jackie Kennedy wore in '61.

Fantastic embroidery.

- We're like, "Oh my god, a French house?

With haute couture."

Only princesses wear it.

I mean, it's like the height of fashion,

and so therefore, the height of luxury.

(gentle music)

- This rabble have been
let into the palace

and are now running riot
through the ateliers.

We just felt like, "Well,
here we are, you're like,

sort of, stale perfume, you stink.

Here we come."

(gentle music continues)

The first couture show was like,

"Oh my God, we're doing a couture show!"

(audience applauding)

- [Bernard] The real core of
the business is haute couture,

because everything depends

on the success of the haute couture.

- The fashion industry,
it's like a pyramid.

At the very top, you have couture.

Couture sets the tone, the colours,

the trends, the silhouettes,
for all the way down

to what you find in the shopping malls.

(gentle music continues)

- [Bernard] It's very important
that the show is a success

and drives everything behind it.

- [Attendee 1] I thought it was fabulous.

It's really what couture is, the fabrics,

the work, the individuality, everything.

- [Attendee 2] There
wasn't one single outfit

that had a mistake.

- [Attendee 3] The French
have seen that he can do it.

(machine whirring)

(gentle music)

- We were aware that Dior was probably

the biggest haute couture house in Paris.

Givenchy's budgets were big,

but Dior's budgets were 10 times that.

- So it was announced that fall

that John would be going to Dior.

(upbeat music)

- To be given the reins of the house

is just something that I would
never believed would happen.

How could I say no?

(crowd applauding and cheering)

- Arnault's saying, "I believe in you

and I'm giving you my favourite
possession," which was Dior,

was an enormous validation
of John's talent,

creativity, and future.

- He just said, "I've signed for Dior.

I couldn't tell you before, I'm so sorry,

'cause it was, like, all secret,

but, you know, this is my
absolute wildest dream come true."

It was just like stardust.

It was the most fantastic moment.

- I remember the first
day walking in there,

and I walked up the
great carpeted staircase,

and there were photographs
either side of Marlene Dietrich,

Ava Gardner, Monsieur Dior,

standing on the steps where I was walking.

And it was like, "Oh, good heavens.

Look where I am now."

(gentle music)

- [Dana] And so they needed
somebody for Givenchy.

- [Interviewer] How do you
find another John Galliano?

How do you find them?

- [Bernard] I know,
it's difficult to find.

- [Showgoer 1] It's terrible.

(car horns honking)

- [Showgoer 2] Are you going to McQueen?

- [Jeanne] Oh man, what a scene

at the Alexander McQueen show!

- [Showgoer 3] Can we get in?

- We are packed wall to wall!

We have closed the place down now.

It's dead. Have a nice night.

- We're trying to get in to
the Alexander McQueen show,

but no one's being allowed in.

The great Andre Leon Talley himself

has been denied admission.

(Andre laughs)

- [Jeanne] What happened?
I mean, they just-

- I just, I don't know,
I think maybe, you know,

they just didn't organise
it to realise that

this is a professional
adventure that we're on.

- [Jeanne] And we've
got, like, Anna Wintour

sitting in this car,

she can't even get in.
- Miss Anna Wintour

of Vogue Magazine is sitting in the car.

She's freezing and shivering, I mean,

I've heard of his great tailoring,

and I'm very interested to see his cut,

but this is ridiculous!

- Alexander McQueen held
his show in New York,

and he was just full of piss
and vinegar, as they say,

and he just didn't care.

I know it wasn't your fault, but hey,

there were a lot of angry people
out there the other night,

when we couldn't get in to your show,

so what do you say to that?

- Sorry! (laughs)

- [Jeanne] You had Anna
Wintour sitting out there

in her limo, trying to get in.

- So, you have 500 people

turning up who didn't have tickets,

and what can you do, get a machine gun out

and shoot the lot of 'em?

You know what I mean? You
can't do nothing about it.

(gentle music)

- [Jeanne] He was a
kid that seemed to have

a bit of a chip on his shoulder.

A kind of attitude.

- [Alexander] I don't beat
around the bush when I do a show,

I go straight for the jugular.

- He was feisty, he was very playful.

He just didn't give a rat's ass about

anybody or anything, it seemed.

Just seemed like this, you
know, kid from the street

that you'd, you know, meet
at a pub or something.

Yeah. Or a dark alleyway.

- You have to go to the extreme
to cancel down to the norm,

and I am the extreme.

(audience applauding)

Wow, party town. Wow, wow.

- Whoa, whoa.
- Mon Cherie,

whoa, whoa. (laughs)

- Woo!
- Oh, petite pois.

- Encore une fois.
- I'm coming, Givenchy.

Do I look like a tourist
or what? Encore une fois!

- There's a lot of snobbism in Paris.

You didn't come from nothing in Paris,

you came from something.

You know, Hubert de Givenchy was a count.

Christian Dior, he was the son of a

very haute bourgeois
family, he came from money.

John was a working-class
guy from southern London.

Just like McQueen.

- [Alexander] I'm the
youngest of six children.

My dad's a normal London taxi driver,

and my mum's an housewife.

(car horn beeping)

- Everybody give him, like,

"This guy's not gonna survive,
he's gonna crash the label,"

you know, "He's never gonna make it."

- Bernard Arnault
obviously did put the cat

among the pigeons, and
delicate French fashion

sensibilities were mortally offended.

(gentle music)

- McQueen and Galliano have to really

knock it out of the park for
their first couture shows,

to prove their place in the
Paris Kingdom of Dreams,

at the top of these two couture houses.

John has everything at his disposal.

Mr. Arnault has given him
a blank cheque and said,

"Do whatever you need to do
to make a spectacular debut."

McQueen definitely has
a much tighter budget.

- It's the 19th January, 1997,
and as they say in the trade,

we're about to witness a fashion moment.

It's possible that the
average fashion audience

didn't understand how
high the stakes were.

- It's the unveiling of the
talent of Alexander McQueen

at Givenchy, and John Galliano at Dior,

and all we can hope for is
great excitement, great beauty,

great revelment, ravishment,
wonderment, sex, erotica.

- People held their breath.

Had Givenchy made the right decision

in such a kind of left-of-field
creative selection?

(upbeat music)

(upbeat music continues)

- Okay, so, two different feelings.

McQueen, chaotic.

People walking around, he's
sweating, what's going on?

Frantic, frantic, frantic.

Galliano, chilled, relaxed.
He has his own dressing room.

You know, he's going to
come out when he's ready.

He'll come out and speak to
the girls, "Hi, how are you?"

It's all about the energy they exude.

- [John] You know, when I look back on it,

you know, the whole last
five years of my career

has been a rehearsal for this.

I dare people to dream.

(upbeat music continues)

- It's an experiment with the most

elaborate goods in the world, gold,

diamonds, damask, silks.

You know, everything
is the highest quality,

and the workmanship in the
ateliers is the highest quality.

- Everyone had a character,
a name, a past, a history.

The mood board was just filled
with many, many different

stories that just took you on a journey.

There I played Madame Dior. (laughs)

That was my role, and
so it was just so weird.

Me, Madame Dior. Wasn't
she a white woman? (laughs)

- [Elizabeth] It wasn't good enough.

It was okay, and it's fine
if he'd shown it in London,

but it was too derivative,

and the tailoring wasn't
quite what it should've been.

- [Attendee 4] Oh, fabulous, fabulous.

Amazing collection, really.

The more elegant, the
more drop dead it is,

the more we like.

- John's first show was
a spectacular success.

McQueen and Givenchy was a misstep.

It seemed ugly, it seemed crazy,

it didn't seem couture at all.

But it didn't matter.

That's the whole point of it,
it still made people talk.

It was about making noise,

and the noise will sell everything else.

(gentle music)

- Then it all went wrong for me.

I didn't think I wasn't gonna go to Dior,

I thought that they would
realign the contract

so that it would be possible
for me to work there.

- Amanda had always been there with John

since the beginning, and I
just think she was kind of

shocked when there was no
plan for taking her to Dior.

We both were, like, close,
close friends of his,

like, the closest people to him, probably.

I think it would've been good

if we both would've stayed with him,

because I think he did need,
like, friends, you know?

Like, we were like family.

- I don't think it was John's fault.

If your wildest dreams
suddenly become true,

you wouldn't put them in jeopardy

by asking for something more
than what you've been offered.

You don't, you just go, "Yes!"

'Cause if you don't say yes,
they might take it away!

(crowd applauding)

- [Dana] I think it had been
coming little by little.

But when he landed that job
at Dior, that sealed it.

He really started believing the myth

that was being generated about him.

He really started behaving
like a little mini king.

(dramatic music)

- As you get successful,

you get more and more and more in danger

because you are more and more a product.

You're just a segment,

you're just a chapter in the business.

- Creativity is an indefinable energy

and it pulsates within the individual,

but it's all down to their authenticity

and to their integrity.

And when you get big money coming in,

suddenly that person's kind of soul

becomes shackled to the
outcomes of that brand.

There's a Faustian pact
that designers enter into.

That's then when the real
pressures start to kick in,

because you have been bought,

and you are expected to deliver.

So I guess we can predict that
there could be trouble ahead.

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