In the brilliant Ernst Lubitsch film “Ninotchka” (1938) the title character – wonderfully played by Greta Garbo in perhaps the finest part of her legendary career – is a dyed-in-the-wool Communist sent from Moscow to Paris, to help negotiate a deal on behalf of the Soviet Union. She is initially stunned and appalled by the bourgeois world around her, though by the film’s end she has embraced it. In a very memorable scene when she first arrives at the grand hotel where she will be staying, she passes a window display for the hotel’s boutique, and pauses before an outlandishly shaped, sculptural-looking object. Ninotchka is informed that the object is in fact a lady’s hat. Shaking her head in disgust, she remarks, “How can such a civilization survive which permits their women to put things like that on their heads? It won’t be long now comrades.”
In a somewhat different vein, on Monday evening I dropped into a recently-opened shop in Georgetown on my way up the hill to the home of a fellow blogger (where we spent a convivial evening on the back porch with some non-blogging friends discussing various and sundry matters.) The shopgirl whom I was chatting with as I examined the selection on offer grabbed my arm and said, “I have a Prada suit that would look *great* on you.” Giving a sly smile, I remarked, “I’m sure it would. But I don’t wear designers who sponsor communism.”
Admittedly the comment as regards myself borders on the immodest, but that regarding my rejection of a particular label is based on a long-time awareness of the machinations of said label’s head designer. Miuccia Prada is well-known among the cognoscenti in the design world as a communist and an active promoter of left-wing social and political policies, a fact which may be lost on many Americans who purchase her wares. Given my distaste for communism, I have never owned anything designed by her, nor would I accept anything designed by her as a gift, such is the extent of my admitted and fully-embraced prejudice. This aside from the fact that her menswear consists of utterly putrid, predominantly androgynous garments, which are really just clothes for genetic males who look like unattractive women with a penchant for copying “From Russia with Love” villain Rosa Klebb’s style.
Britain’s The Independent not long ago described Sig.ra Prada’s output as being full of “irony and sheer brains”, as she employs thread and needle to make fun of the bourgeoisie:
At the root of her work, like the theme of a symphony to which it constantly returns, is the conservatism and restraint that are so typical of bourgeois Milan and so at odds with the world’s image of Italy, and which she absorbed with her mother’s minestrone. But this conservatism is constantly punctured and subverted, rudely shoved aside and cruelly mocked, by a whole mad world of motley influences and by an almost childish compulsion to do what everybody says you mustn’t and what nobody expects.
Those familiar with Whit Stillman’s film “Metropolitan” may recall the scene in which the character of Charlie Black (Taylor Nichols) talks about his disappointment with Spanish director Luis Buñuel’s 1972 film “Le Charme discret de la bourgeoisie” (“The Discreet Charm of the Bourgeoisie”). Charlie, a member of a group which he has christened the “UHB” or “Urban Haute-Bourgeoisie”, describes how excited he was on hearing of the film’s title, and his subsequent disappointment upon actually seeing the movie. “I thought, ‘Finally! someone’s going to tell the truth about the bourgeoisie!’ But it’s hard to imagine a less fair or accurate portrait.”
Of course Charlie is not aware that, as is typical of many Leftists with the leisure to pursue such ends, Buñuel himself was no proletarian: he came from a decidedly wealthy background, and heartily enjoyed being around wealthy people. And for someone who is supposedly so ironic, so biting in her criticism of the bourgeois, in mocking the bourgeoisie Sig.ra Prada is also, even more ironically mocking herself. She is nothing if not a woman of comfortably middle-class origin supported by a decidedly upper-class income. Like other dowdy, aging baby boomers who criticize traditional ideals, she fails to perceive her own hypocrisy in supporting Marxist ideology on the one hand, while simultaneously flogging her goods with the other – at ridiculously inflated prices, natch – in order to increase her own wealth. Indeed, Sig.ra Prada has now appeared on Forbes’ list of the world’s richest people for many years.
The response from the Left, of course, is that Sig.ra Prada, Buñuel and others like them very much recognize their own hypocrisy, but they are more than happy to take the resources of those whom they perceive as perpetrators of the evils of mankind, and use those resources to promote their supposedly more moral or liberating projects, causes and beliefs. In so doing however, they prove themselves to be no different from the people whose views and methods they claim to despise. They may not believe in the God of the Bible, but they worship themselves through self-promotion; they may pay their workers a living wage, but they would never eschew staying in grand hotels, let alone live in a shared, modest apartment with any of them. (Where would they keep the Château Margaux they laid down two summers ago?)
As Leon Trotsky writes in his 1938 screed, “Their Morals and Ours”, not long after founding the Fourth Communist International and his falling out with what for lack of a better term we can call mainstream communism:
Among the liberals and radicals there are not a few individuals who have assimilated the methods of the materialist interpretation of events and who consider themselves Marxists. This does not hinder them, however, from remaining bourgeois journalists, professors or politicians. A Bolshevik is inconceivable, of course, without the materialist method, in the sphere of morality too. But this method serves him not solely for the interpretation of events but rather for the creation of a revolutionary party of the proletariat. It is impossible to accomplish this task without complete independence from the bourgeoisie and their morality. Yet bourgeois public opinion actually now reigns in full sway over the official workers’ movement.
So much, Trotsky seems to be saying, for the champagne socialist.
I do not mean to suggest that we should always avoid, by our purchases, supporting the work of those whose views differ from our own. That would not only be ridiculously impractical, but decidedly narrow-minded. My personal rejection of the work of Sig.ra Prada is merely a personal affectation, based on my deep antipathy toward both her views and how her aesthetic is informed by them. What I do – most emphatically – mean to suggest, however, is that the educated courtier engage in some very practical exercise of their own powers of discernment. Said discerning gentleman or lady ought to consider exactly what it is that they are buying into, with their purchase of clothing, media, and the like, irrespective of its popularity.
Charles Baudelaire – a man who as a result of his own tumultuous personal life knew whereof he spoke – famously remarked that the greatest trick Satan ever pulled was to convince the world that he does not exist. With greater discernment, we can perceive an infernal hand in many places in our world today – in the way we treat one another, yes, but also and perhaps more subtlety in our entertainments and the way in which we live and even dress. The Devil is very much among us – and I definitely believe he wears Prada.
Ninotchka (Greta Garbo) considers a very curious hat.