, begins with a lengthy prologue delving into Cruella’s childhood, all the way back when she was just Estella. Born with a shock of black-and-white hair and a fiery temper, this slightly overlong introductory passage sets up Cruella’s lifelong hatred of dalmatians after a trio of dogs push her mother off a cliff to her death.
While the job largely involves scrubbing toilets and being berated by her haughty manager, Cruella has her eyes on the prize: overhauling the staid window displays, which feature Biba-esque dresses and floppy sun hats that nod to the film’s time setting, which sits roughly around the end of the swinging ’60s.
As a designer, Cruella’s signatures are established with a look that merges the deconstructed bustiers and bustles that rocketed Vivienne Westwood to fame with the Duchampian spirit of John Galliano’s Dior newspaper prints, and by extension, the newspaper prints pioneered by 20th-century fashion’s first true provocateur, Elsa Schiaparelli.
Upon reaching Cruella’s gown, she uses a scalpel to slice its back off, nicking Cruella’s arm in the process and drawing blood before reluctantly complimenting the dress. Instead of calling out for a first aid kit, though, she holds up Cruella’s bleeding wrist and asks her fabric department if they can source a textile in that particular shade of red. The stereotype of the female fashion Svengali as sociopath—and her assistants as unthinking loyalists—is hardly new.
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