Bonheure Gabrielle Chanel was born August 19, 1883 in a poorhouse in Saumur, by Henri-Albert Chanel and Jeanne DeVolle. The child was conceived outside of wedlock, as well as his sister Julie, was born a year before. Albert and Jeanne only married 17 November 1884. Gabrielle's father was a traveling salesman, who wandered for Auvergne markets, in the mountains of south-eastern France. The mother, Jeanne, daughter of an innkeeper, gave birth to Gabrielle at the age of nineteen.
The family moved shortly after in Issoire [dell'ultimogenito Following the birth, the family moved to Brive-la-Gaillarde, where Jeanne, probably exhausted by pregnancies, fell ill and died following a fever accompanied by an asthma attack . He was found dead one morning in February 1895 [8], at the age of thirty-three. Woman's age at his death has been questioned because of the testimonies of discordance: Chanel declared that he was 6 years at the time, when in fact it had already 11
Following the death of his wife, Albert took her children with her to abandon them again at the residence of his mother, in Vichy The woman could not take care of the children personally and Lucien and Alphonse were then sent to work at a farm. The three sisters Chanel, however, were entrusted to the Sisters of the Congregation of the Sacred Heart, at the orphanage of Aubazine To take care of orphans was also a pair of uncles: Louise Chanel and Paul Costier.
In Chanel collections you can sense the influence of the years of monastic life. As noted by Karen Karbo, the sisters have inspired in Mademoiselle 's "love for the black and white' and the '' austerity '
Orphanage, Chanel sisters were part of a group of girls with no family or relatives so poor they can not afford donations to the institute. The girls were then treated differently and less favored than the other.
Exceeded the age limit to stay at the orphanage, and Gabrielle Julie were sent at a school of learning domestic skills of Notre Dame.
Coco turned eighteen in 1901 and began working as a saleswoman at Moulin, at the lingerie shop and knitwear Maison Grampayre. There he developed the sewing notions learned from the Sisters of Notre Dame and thorough with Aunt Louise.
In the same years he worked in the shop Maison Grampayre, he began a brief career as a singer at a cafe-concert. It seems that Coco nickname derives from the song Here qu'a vu Coco ?, where Gabrielle was performing (even if, as dictated by the mythology Chanel, there are also several versions regarding this particular).
The first turning point in the life of Gabrielle is the encounter with her first lover, Etienne de Balsan.
Chanel met Balsan in 1904. When they met - at one of the cabaret Moulin - she was 21 and he 24. Balsan was also the first financier of the designer. Son of textile entrepreneurs, and cavalry officer, Balsan Chanel invited to move at his castle in Royallieu, in 1908.
Their story lasted six years.
Karen Karbo writes in his book, "the revolutionary style of Coco Chanel" appeared to be "a knee-jerk response to the fact that not s'integrava with cool people to Royallieu"
Also staying at the castle the other lover Balsan, Emilienne d'Alecon, which left him soon to a jockey. Balsan was a lover of horses and racing, so Chanel found himself spending his time in the thoroughbred stables of her lover. He learned to ride them and aroused the admiration not only of Balsan, but also his friends. Probably it was the equestrian life that later inspired the jodhpurs and cravattine knitted.
Despite Balsan did not include the Chanel creative desire and his will to work, the seconded allowing her to create hats at her apartment in Paris, on Boulevard Malesherbes.
Around 1909, Coco Chanel began his career making caps [16]: at a time when vigevano sumptuous hats - covered with feathers and impossible to wear without the elaborate support structure, called Pompadur - the Chanel straw hats , decorated with simple flowers in satin or individual feathers, shocked.
His first client was just Emilienne d'Alecon, which showed off the creation of Gabrielle Longchamps racecourse
Through the network of friendships Balsan, Chanel formed his first customers.
Boy Capel and Rue Cambon
At the residence of her first lover, Chanel met what is considered the love of his life [18], Boy Capel.
Boy was a Newcastle Industrial, engaged in the export of coal. Unlike Balsan, Capel encouraged and financed the work of Chanel. The two went to live together in Paris, where Capel anticipated the money to allow her to open her boutique at 31 Rue Cambon [19].
Coco and Boy never married because of the social gap that separated them, having been Chanel orphan of uncertain origins and Capel a representative of the big bourgeoisie. " Another cause was the fact that Chanel Boy put before a decision: "the love of his life or work", putting aware that she would marry another woman. She unknowingly chose the job.
In 1912, when the store was already well underway for two years, Chanel began to sell in addition to its well caps apparel such as sweaters, skirts and some clothes.
White and black are not the only colors used by Chanel, which took in his clothes also shades such as beige, gray and navy blue [23].
In the same year, in unknown circumstances, he gave out the older sister of Chanel, Julie. Coco does not, however, could take care of his grandson Andre because at the time, the law did not permit the assignment of a child to an unmarried woman. [24].
Ten years
Capel was for Chanel not only a lover but also his sponsor.
In 1913, Capel opened for Chanel a new shop in the seaside resort of Deauville. The shop stood between the Gran Casino and the most luxurious hotel of the place, the Hotel Normandie.
In Deauville, inspired by the sailors at work, Chanel reinterpreted their clothing, making sweaters with the same neck. Any style of Chanel drew on the common life of the people around her, to give practical clothing that that the Belle Époque was replaced with bustiers, corsets and scaffolding for hats.
Coco was associated by Paul Poiret at pauvre style style, while Karen Karbo, argues that Chanel 'drew not his style from the poorer classes, but by the human race "[26].
The Great War
In the summer of 1914 the war broke out and took off Chanel Modes ....
The wealthiest families of France were spending the summer in the seaside resort of Deauville. There, the ladies could buy beautiful hats and light clothing Gabrielle Chanel.
In late July, Austria declared war on Serbia, while Germany took sides against Russia and France. Europe began to move to the First World War, while Chanel saw his customers migrate return to the capital.
Capel, thanks to its coal deposits, gasservicing the Allies and was in contact with influential personalities [27]. He made the first part of the General Staff of Sir John French [28] and later became advisor to the French Prime Minister Georges Clemenceau [29] .Through his contacts, Capel was made aware of secret information.
The Chanel Modes was about to close, when he received news from Coco Capel, who told her to not interrupt the activity ...
In August, there was the declaration of war of Germany to France and that of England to Germany, which had invaded Belgium and soon reached the French capital. Young French enlisted men, with wives they returned to Deauville, where he engaged in volunteer work to assist the wounded.
Chanel was the only remained open clothing store and offered apparel that in that situation were presented practical and suitable to the needs.
"It ended a world, another about to be born. I was there; an opportunity presented itself, I took it. I was the age of the new century which is thus turned to me for the expression of her wardrobe. Needed simplicity, comfort, clarity: I offered him all of this, without his knowledge. »
(Coco Chanel, A Century of Italian Fashion, 1900-2000, 2005, p.34)
In the wake of the success of Deauville, 15 July 1915 [30] Chanel Modes also opened on the Atlantic coast of France, away from the front lines, in Biarritz, on the border with neutral Spain which started the market.
In 1917, in one of the five laboratories that Chanel had opened, 60 seamstresses were busy only make clothes for wealthy Spanish gentleman.
1916 is the year of the jersey: Coco Chanel bought textile industrialist Jean Rodier a game jersey machined, with whom he began to realize his bosses.
In keeping with the mythology Chanel also exists another version: the signed contract to Rue Cambon provided that the store only sells hats, because there was already a clothing store nearby. No jersey material being considered at that time for women's clothing, it seems that Chanel has bypassed the contractual terms.
The introduction of this material in the clothing until then attributed to the implementation of linen was a real novelty. Chanel is still known for its jersey creations.
In 1917, Chanel with the help of Capel was able to expand its activities in Paris and Biarritz, garnering five laboratories and three hundred workers.
Misia Sert, and the circle of artists
It was during those years that Chanel made the acquaintance of Misia Sert, the woman who introduced her to the world of artists and intellectuals.
Maria Sophie Olga Godebska Misia Natanson Edwards Sert, Russian pianist, he made his entrance into the art world following his marriage to the founder of the avant-garde magazine, Revue Blanche, Thadée Natanson.
The meeting between Misia and Coco came during an evening organized by Cecile Sorel. When the party ended, Chanel put his coat and Misia did not remain indifferent to the head. The Polish woman praised the designer jacket and Chanel if lifted off me to give it to him [36]. Through this friendship, Chanel was able to make the acquaintance of figures like Paul Morand, Pablo Picasso, Jean Cocteau, Max Jacob and Igor Stravinsky (with whom, in 1921, had an affair).
In 1918, Chanel made to her lover the full amount that had lent her. The same year Capel became engaged to the young Diana Lister Wyndham, to strengthen its position in society and married her in October. However, even after marriage, Capel and Chanel did not interrupt their attendance. The relationship lasted until 1919.
That year, on the night between 22 and 23 December, Capel, traveling from Paris to Cannes, he had a serious car accident and lost his life at the age of 38 years. Chanel received the news in the night and went immediately to the accident site, arriving at dawn three days later. On the way there were still remnants of the accident, with whom Coco wept her lover. Probably because of the serious loss Mademoiselle threw himself headlong into work.
1920 was the year of another loss: the younger sister of Gabrielle, Antoinette, playing with her new Argentine husband to Buenos Aires, died of an epidemic of Spanish.
The were only Alphonse and Lucien. Because of its financial takeoff, Chanel did not want to acknowledge his brothers, but he sent them money, until he was not forced to close the business, because of World War II.
Coco Chanel in 1928
successes
In the twenties, Chanel launched the fashion of short hair. It was a fatality. Having accidentally burned the hair on a stove, also cut the rest. After a short time the fashionable young women imitated his cut [43].
In 1925, Chanel began attending the Duke of Westminster, Hugh Richard Arthur Grosvenor, known as Bendor. It was he who gave birth in her interest in the Scottish tweed
The same year in Paris was held the Exposition des Arts Decoratifs et Industriels Modernes, a review of the innovations in the applied arts, which marked the defeat of the designer Paul Poiret, a rival of Coco. Chanel imposed new style whose keyword was comfort, Poiret could not adapt and recall the Belle Epoque of its leaders marked the sunset of his era.
1926 for her was the year of the debut of the little black dress, the little black dress, the US magazine Vogue praised era, comparing him to a car.
Chanel proceeded in his rise and in 1928 his Paris fashion house moved from Rue de Cambon 21 to number 31, where well occupied three floors.
In 1927, the Chanel designer sportswear also came across the Channel, in the Mayfair district of London, where it was opened the new shop Coco.
CHANEL N ° 5
In the twenties, Coco began a relationship with the Grand Duke Dmitri Pavlovich, cousin of Tsar Nicholas II, who met in Biarritz.
In 1921 came on the market its fragrance Chanel No. 5, developed with the help of the perfumer Ernest Beaux, submitted to it by Pavlovitc. Beaux was the son of the perfumer of the Tsar, who emigrated to France because of the Russian Revolution, and had realized in Russia (not the Soviet Union) an Eau de Catherine - just as appropriate to the time and place - which, with some changes, would become the scent of which was to Coco research in France].
The fragrance was very innovative, at a time when beginning to be timidly off the synthetic perfumes. The Chanel fragrance was created artificially, with synthetic molecules. so he was born a new fragrance ideal "[...] the result of a manufacturing, a women's fragrance" smelling "of women, because a woman should smell of woman and not pink."
The fragrance was named # 5 because it corresponded to the fifth essence of Chanel choice (but it is also said that 5 was her favorite number.
In 1924, Chanel goes into partnership with his brothers Pierre and Paul Wertheimer, owners of perfume and cosmetics house Les Parfumeries Bourjois, who acquired the rights to the production of perfumes and beauty products with the brand Chanel.
Following the founding of the company and the enormous success of Chanel No. 5, Gabrielle claimed the rights to her perfume. Legal action went on in years, but Chanel never gained an increase of its initial share.
At No. 5, followed the # 22 in 1922, Gardénia in 1925, Bois des Iles in 1926, Cuir de Russie in 1927, Sycomore, Une idee in 1930, Jasmin 1932, Pour Monsieur in 1955 and finally the N19 in 1970 .
The famous phrase of Marilyn Monroe: "What do I wear in bed? Chanel no.5, of course."
The Chanel style and feminine revolution
At the end of World War I, during which Chanel Modes had imposed its presence on the market, it is the prototype of the tomboy who played along with Chanel Patou.
Coco Chanel, through fashion, represented the new female model that was growing in the 900: a dynamic woman, who was working and could not be constrictive clothing slave of the Belle Époque.
"Until then we had dressed women useless, idle, women to whom the waiter had to tuck the sleeves; Instead, it had now bought by active women; an active woman needs to feel comfortable in your dress. We must be able to roll up their sleeves. »
(Coco Chanel, fashion and costume Illustrated History,
Chanel gave women the right to that new dress. The same famous little black dress seems inspired by the uniform of orders. The designer insisted that "true elegance can not be separated from full free movement possibilities."
For the use of humble materials and for the inspiration he drew from the figures related to working life, Chanel was renamed the Queen of the genre pauvre, "a" luxurious poverty "very modern and posh." Paul Poiret called him Coco style misérbailisme de luxe. the designer freed women from corsets and scaffolding for hats, giving them comfortable clothes, simple lines to pursue a dynamic daily life.
That year Paul dies playing tennis under the eyes of Chanel, which inconsolable after the loss Lover "to fight his insomnia, [...] starts to abuse SEDOL, a hypnotic morphine-based which will not soon He will free up more. "
Chanel was not only a great designer, but employed his talents in theatrical and cinematic works.
The debut dates back to 1911, when his straw hat came on the scene in Bel Ami by Guy de Maupassant, lying on the head of the actress Gabrielle Dorziat.
But he made his debut in the real career as costume designer in 1922 , designing the costumes for the work done by the poet Cocteau, Antigone. Chanel created the rough wool tunics decorated with Greek motifs.
Later, in 1924 [64], Chanel worked again to Cocteau, making clothes for the actors ballet Le Train Bleu; Picasso also contributed to the work, taking care of the set design.
Later, thanks to her new lover, the Duke of Westminster, Chanel met Samuel Goldwyn, who invited her to the US to create the costumes to be used in his films. Chanel agreed and in April 1931 [65] left for Hollywood in Misia company. The contract signed by Chanel foresaw that realized clothes for the actress Gloria Swanson, who however refused to always wear the same designer clothes. The American career of Chanel was reduced to just one film.
With the advent of World War II, Chanel closed her studio, to reopen it only at the end of the conflict. In 1939, he escaped from a bombed Paris, to return there in August 1940.
In those years, Coco began a relationship with a member of the Nazi counterespionage, Hans Günter von Dincklage, Spatz said, and later got involved with one of the young leaders of the SS, Walter Schellenberg.
He wanted to use the hooks in the environment that had English and German one to send to port its peace strategy, devised together with Theodor Momm. The operation was named Modellhut.
It was a dance dress made of taffeta with a curtain to mark his return. In 1953, Marie-Helene de Rothschild, daughter of Edmond and Maggy van Zuylen, was preparing to participate in the most important dance of the year with an outfit that Chanel called it a "horror.
Coco is a seamstress and improvised with the fabric of a crimson curtain, sewn directly on the body of the young woman, created for her a new dress. The next day, Marie-Hélène told Chanel which stir had piqued her clothes. In 1954, almost seventy, Chanel reopened her fashion house and reappeared to his audience with a new collection, which he presented on February 5, 1954.
The 30 machines paraded before the eyes of a crowd of buyers, photographers and journalists. The first reaction of the French critics was absolutely negative, due to the use of old themes . Soon, however, the consensus began to arrive from America and Chanel still returned a fashion time.
The latest achievements of the Maison Chanel [edit | change wikitext]
In the year of the return of Chanel, the extravagance of the Schiaparelli was no longer hailed as the beginning, and the designer was forced to close.
The proposal for Chanel in the year of its reopening is the tweed suit with a skirt that regains a little below the knee length, the short jacket and gold buttons. In 1955, Mademoiselle gained another success, creating a timeless accessory signed Chanel handbag. The innovative design is inspired, in the pure tradition of Chanel, the male wardrobe: to give volume to his clutch, the designer took example from jackets to the grooms wore racecourse. The quilted handbag - or quilted - showed the addition of a strap, which consisted of a metal chain, braided leather.
The classic Chanel is preserved over the years thanks to the sharp lines of the contours and opaque fabrics, which with their colors are able to capture the light .
Jean-Marie Floch French semiotician spotted the temporal strangeness of Chanel in the capacity that had the designer to assemble the women's fashion
The family moved shortly after in Issoire [dell'ultimogenito Following the birth, the family moved to Brive-la-Gaillarde, where Jeanne, probably exhausted by pregnancies, fell ill and died following a fever accompanied by an asthma attack . He was found dead one morning in February 1895 [8], at the age of thirty-three. Woman's age at his death has been questioned because of the testimonies of discordance: Chanel declared that he was 6 years at the time, when in fact it had already 11Following the death of his wife, Albert took her children with her to abandon them again at the residence of his mother, in Vichy The woman could not take care of the children personally and Lucien and Alphonse were then sent to work at a farm. The three sisters Chanel, however, were entrusted to the Sisters of the Congregation of the Sacred Heart, at the orphanage of Aubazine To take care of orphans was also a pair of uncles: Louise Chanel and Paul Costier.
In Chanel collections you can sense the influence of the years of monastic life. As noted by Karen Karbo, the sisters have inspired in Mademoiselle 's "love for the black and white' and the '' austerity '
Orphanage, Chanel sisters were part of a group of girls with no family or relatives so poor they can not afford donations to the institute. The girls were then treated differently and less favored than the other.
Exceeded the age limit to stay at the orphanage, and Gabrielle Julie were sent at a school of learning domestic skills of Notre Dame.
Coco turned eighteen in 1901 and began working as a saleswoman at Moulin, at the lingerie shop and knitwear Maison Grampayre. There he developed the sewing notions learned from the Sisters of Notre Dame and thorough with Aunt Louise.
In the same years he worked in the shop Maison Grampayre, he began a brief career as a singer at a cafe-concert. It seems that Coco nickname derives from the song Here qu'a vu Coco ?, where Gabrielle was performing (even if, as dictated by the mythology Chanel, there are also several versions regarding this particular).
The first turning point in the life of Gabrielle is the encounter with her first lover, Etienne de Balsan.
Chanel met Balsan in 1904. When they met - at one of the cabaret Moulin - she was 21 and he 24. Balsan was also the first financier of the designer. Son of textile entrepreneurs, and cavalry officer, Balsan Chanel invited to move at his castle in Royallieu, in 1908.
Their story lasted six years.
Karen Karbo writes in his book, "the revolutionary style of Coco Chanel" appeared to be "a knee-jerk response to the fact that not s'integrava with cool people to Royallieu"
Also staying at the castle the other lover Balsan, Emilienne d'Alecon, which left him soon to a jockey. Balsan was a lover of horses and racing, so Chanel found himself spending his time in the thoroughbred stables of her lover. He learned to ride them and aroused the admiration not only of Balsan, but also his friends. Probably it was the equestrian life that later inspired the jodhpurs and cravattine knitted.
Despite Balsan did not include the Chanel creative desire and his will to work, the seconded allowing her to create hats at her apartment in Paris, on Boulevard Malesherbes.
Around 1909, Coco Chanel began his career making caps [16]: at a time when vigevano sumptuous hats - covered with feathers and impossible to wear without the elaborate support structure, called Pompadur - the Chanel straw hats , decorated with simple flowers in satin or individual feathers, shocked.
His first client was just Emilienne d'Alecon, which showed off the creation of Gabrielle Longchamps racecourse
Through the network of friendships Balsan, Chanel formed his first customers.
Boy Capel and Rue Cambon
At the residence of her first lover, Chanel met what is considered the love of his life [18], Boy Capel.
Boy was a Newcastle Industrial, engaged in the export of coal. Unlike Balsan, Capel encouraged and financed the work of Chanel. The two went to live together in Paris, where Capel anticipated the money to allow her to open her boutique at 31 Rue Cambon [19].
Coco and Boy never married because of the social gap that separated them, having been Chanel orphan of uncertain origins and Capel a representative of the big bourgeoisie. " Another cause was the fact that Chanel Boy put before a decision: "the love of his life or work", putting aware that she would marry another woman. She unknowingly chose the job.
In 1912, when the store was already well underway for two years, Chanel began to sell in addition to its well caps apparel such as sweaters, skirts and some clothes.
White and black are not the only colors used by Chanel, which took in his clothes also shades such as beige, gray and navy blue [23].
In the same year, in unknown circumstances, he gave out the older sister of Chanel, Julie. Coco does not, however, could take care of his grandson Andre because at the time, the law did not permit the assignment of a child to an unmarried woman. [24].
Ten years
Capel was for Chanel not only a lover but also his sponsor.
In 1913, Capel opened for Chanel a new shop in the seaside resort of Deauville. The shop stood between the Gran Casino and the most luxurious hotel of the place, the Hotel Normandie.
In Deauville, inspired by the sailors at work, Chanel reinterpreted their clothing, making sweaters with the same neck. Any style of Chanel drew on the common life of the people around her, to give practical clothing that that the Belle Époque was replaced with bustiers, corsets and scaffolding for hats.
Coco was associated by Paul Poiret at pauvre style style, while Karen Karbo, argues that Chanel 'drew not his style from the poorer classes, but by the human race "[26].
The Great War
In the summer of 1914 the war broke out and took off Chanel Modes ....
The wealthiest families of France were spending the summer in the seaside resort of Deauville. There, the ladies could buy beautiful hats and light clothing Gabrielle Chanel.
In late July, Austria declared war on Serbia, while Germany took sides against Russia and France. Europe began to move to the First World War, while Chanel saw his customers migrate return to the capital.
Capel, thanks to its coal deposits, gasservicing the Allies and was in contact with influential personalities [27]. He made the first part of the General Staff of Sir John French [28] and later became advisor to the French Prime Minister Georges Clemenceau [29] .Through his contacts, Capel was made aware of secret information.
The Chanel Modes was about to close, when he received news from Coco Capel, who told her to not interrupt the activity ...
In August, there was the declaration of war of Germany to France and that of England to Germany, which had invaded Belgium and soon reached the French capital. Young French enlisted men, with wives they returned to Deauville, where he engaged in volunteer work to assist the wounded.
Chanel was the only remained open clothing store and offered apparel that in that situation were presented practical and suitable to the needs.
"It ended a world, another about to be born. I was there; an opportunity presented itself, I took it. I was the age of the new century which is thus turned to me for the expression of her wardrobe. Needed simplicity, comfort, clarity: I offered him all of this, without his knowledge. »
(Coco Chanel, A Century of Italian Fashion, 1900-2000, 2005, p.34)
In the wake of the success of Deauville, 15 July 1915 [30] Chanel Modes also opened on the Atlantic coast of France, away from the front lines, in Biarritz, on the border with neutral Spain which started the market.
In 1917, in one of the five laboratories that Chanel had opened, 60 seamstresses were busy only make clothes for wealthy Spanish gentleman.
1916 is the year of the jersey: Coco Chanel bought textile industrialist Jean Rodier a game jersey machined, with whom he began to realize his bosses.
In keeping with the mythology Chanel also exists another version: the signed contract to Rue Cambon provided that the store only sells hats, because there was already a clothing store nearby. No jersey material being considered at that time for women's clothing, it seems that Chanel has bypassed the contractual terms.
The introduction of this material in the clothing until then attributed to the implementation of linen was a real novelty. Chanel is still known for its jersey creations.
In 1917, Chanel with the help of Capel was able to expand its activities in Paris and Biarritz, garnering five laboratories and three hundred workers.
Misia Sert, and the circle of artists
It was during those years that Chanel made the acquaintance of Misia Sert, the woman who introduced her to the world of artists and intellectuals.
Maria Sophie Olga Godebska Misia Natanson Edwards Sert, Russian pianist, he made his entrance into the art world following his marriage to the founder of the avant-garde magazine, Revue Blanche, Thadée Natanson.
The meeting between Misia and Coco came during an evening organized by Cecile Sorel. When the party ended, Chanel put his coat and Misia did not remain indifferent to the head. The Polish woman praised the designer jacket and Chanel if lifted off me to give it to him [36]. Through this friendship, Chanel was able to make the acquaintance of figures like Paul Morand, Pablo Picasso, Jean Cocteau, Max Jacob and Igor Stravinsky (with whom, in 1921, had an affair).
In 1918, Chanel made to her lover the full amount that had lent her. The same year Capel became engaged to the young Diana Lister Wyndham, to strengthen its position in society and married her in October. However, even after marriage, Capel and Chanel did not interrupt their attendance. The relationship lasted until 1919.
That year, on the night between 22 and 23 December, Capel, traveling from Paris to Cannes, he had a serious car accident and lost his life at the age of 38 years. Chanel received the news in the night and went immediately to the accident site, arriving at dawn three days later. On the way there were still remnants of the accident, with whom Coco wept her lover. Probably because of the serious loss Mademoiselle threw himself headlong into work.
1920 was the year of another loss: the younger sister of Gabrielle, Antoinette, playing with her new Argentine husband to Buenos Aires, died of an epidemic of Spanish.
The were only Alphonse and Lucien. Because of its financial takeoff, Chanel did not want to acknowledge his brothers, but he sent them money, until he was not forced to close the business, because of World War II.
Coco Chanel in 1928
successes
In the twenties, Chanel launched the fashion of short hair. It was a fatality. Having accidentally burned the hair on a stove, also cut the rest. After a short time the fashionable young women imitated his cut [43].
In 1925, Chanel began attending the Duke of Westminster, Hugh Richard Arthur Grosvenor, known as Bendor. It was he who gave birth in her interest in the Scottish tweed
The same year in Paris was held the Exposition des Arts Decoratifs et Industriels Modernes, a review of the innovations in the applied arts, which marked the defeat of the designer Paul Poiret, a rival of Coco. Chanel imposed new style whose keyword was comfort, Poiret could not adapt and recall the Belle Epoque of its leaders marked the sunset of his era.
1926 for her was the year of the debut of the little black dress, the little black dress, the US magazine Vogue praised era, comparing him to a car.
Chanel proceeded in his rise and in 1928 his Paris fashion house moved from Rue de Cambon 21 to number 31, where well occupied three floors.
In 1927, the Chanel designer sportswear also came across the Channel, in the Mayfair district of London, where it was opened the new shop Coco.
CHANEL N ° 5
In the twenties, Coco began a relationship with the Grand Duke Dmitri Pavlovich, cousin of Tsar Nicholas II, who met in Biarritz.
In 1921 came on the market its fragrance Chanel No. 5, developed with the help of the perfumer Ernest Beaux, submitted to it by Pavlovitc. Beaux was the son of the perfumer of the Tsar, who emigrated to France because of the Russian Revolution, and had realized in Russia (not the Soviet Union) an Eau de Catherine - just as appropriate to the time and place - which, with some changes, would become the scent of which was to Coco research in France].
The fragrance was very innovative, at a time when beginning to be timidly off the synthetic perfumes. The Chanel fragrance was created artificially, with synthetic molecules. so he was born a new fragrance ideal "[...] the result of a manufacturing, a women's fragrance" smelling "of women, because a woman should smell of woman and not pink."
The fragrance was named # 5 because it corresponded to the fifth essence of Chanel choice (but it is also said that 5 was her favorite number.
In 1924, Chanel goes into partnership with his brothers Pierre and Paul Wertheimer, owners of perfume and cosmetics house Les Parfumeries Bourjois, who acquired the rights to the production of perfumes and beauty products with the brand Chanel.
Following the founding of the company and the enormous success of Chanel No. 5, Gabrielle claimed the rights to her perfume. Legal action went on in years, but Chanel never gained an increase of its initial share.
At No. 5, followed the # 22 in 1922, Gardénia in 1925, Bois des Iles in 1926, Cuir de Russie in 1927, Sycomore, Une idee in 1930, Jasmin 1932, Pour Monsieur in 1955 and finally the N19 in 1970 .
The famous phrase of Marilyn Monroe: "What do I wear in bed? Chanel no.5, of course."
The Chanel style and feminine revolution
At the end of World War I, during which Chanel Modes had imposed its presence on the market, it is the prototype of the tomboy who played along with Chanel Patou.
Coco Chanel, through fashion, represented the new female model that was growing in the 900: a dynamic woman, who was working and could not be constrictive clothing slave of the Belle Époque.
"Until then we had dressed women useless, idle, women to whom the waiter had to tuck the sleeves; Instead, it had now bought by active women; an active woman needs to feel comfortable in your dress. We must be able to roll up their sleeves. »
(Coco Chanel, fashion and costume Illustrated History,
Chanel gave women the right to that new dress. The same famous little black dress seems inspired by the uniform of orders. The designer insisted that "true elegance can not be separated from full free movement possibilities."
For the use of humble materials and for the inspiration he drew from the figures related to working life, Chanel was renamed the Queen of the genre pauvre, "a" luxurious poverty "very modern and posh." Paul Poiret called him Coco style misérbailisme de luxe. the designer freed women from corsets and scaffolding for hats, giving them comfortable clothes, simple lines to pursue a dynamic daily life.
That year Paul dies playing tennis under the eyes of Chanel, which inconsolable after the loss Lover "to fight his insomnia, [...] starts to abuse SEDOL, a hypnotic morphine-based which will not soon He will free up more. "
Chanel was not only a great designer, but employed his talents in theatrical and cinematic works.
The debut dates back to 1911, when his straw hat came on the scene in Bel Ami by Guy de Maupassant, lying on the head of the actress Gabrielle Dorziat.
But he made his debut in the real career as costume designer in 1922 , designing the costumes for the work done by the poet Cocteau, Antigone. Chanel created the rough wool tunics decorated with Greek motifs.
Later, in 1924 [64], Chanel worked again to Cocteau, making clothes for the actors ballet Le Train Bleu; Picasso also contributed to the work, taking care of the set design.
Later, thanks to her new lover, the Duke of Westminster, Chanel met Samuel Goldwyn, who invited her to the US to create the costumes to be used in his films. Chanel agreed and in April 1931 [65] left for Hollywood in Misia company. The contract signed by Chanel foresaw that realized clothes for the actress Gloria Swanson, who however refused to always wear the same designer clothes. The American career of Chanel was reduced to just one film.
With the advent of World War II, Chanel closed her studio, to reopen it only at the end of the conflict. In 1939, he escaped from a bombed Paris, to return there in August 1940.
In those years, Coco began a relationship with a member of the Nazi counterespionage, Hans Günter von Dincklage, Spatz said, and later got involved with one of the young leaders of the SS, Walter Schellenberg.
He wanted to use the hooks in the environment that had English and German one to send to port its peace strategy, devised together with Theodor Momm. The operation was named Modellhut.
It was a dance dress made of taffeta with a curtain to mark his return. In 1953, Marie-Helene de Rothschild, daughter of Edmond and Maggy van Zuylen, was preparing to participate in the most important dance of the year with an outfit that Chanel called it a "horror.
Coco is a seamstress and improvised with the fabric of a crimson curtain, sewn directly on the body of the young woman, created for her a new dress. The next day, Marie-Hélène told Chanel which stir had piqued her clothes. In 1954, almost seventy, Chanel reopened her fashion house and reappeared to his audience with a new collection, which he presented on February 5, 1954.
The 30 machines paraded before the eyes of a crowd of buyers, photographers and journalists. The first reaction of the French critics was absolutely negative, due to the use of old themes . Soon, however, the consensus began to arrive from America and Chanel still returned a fashion time.
The latest achievements of the Maison Chanel [edit | change wikitext]
In the year of the return of Chanel, the extravagance of the Schiaparelli was no longer hailed as the beginning, and the designer was forced to close.
The proposal for Chanel in the year of its reopening is the tweed suit with a skirt that regains a little below the knee length, the short jacket and gold buttons. In 1955, Mademoiselle gained another success, creating a timeless accessory signed Chanel handbag. The innovative design is inspired, in the pure tradition of Chanel, the male wardrobe: to give volume to his clutch, the designer took example from jackets to the grooms wore racecourse. The quilted handbag - or quilted - showed the addition of a strap, which consisted of a metal chain, braided leather.
The classic Chanel is preserved over the years thanks to the sharp lines of the contours and opaque fabrics, which with their colors are able to capture the light .
Jean-Marie Floch French semiotician spotted the temporal strangeness of Chanel in the capacity that had the designer to assemble the women's fashion
Gabrielle Bonheure Chanel nacque il 19 agosto 1883 in un ospizio dei poveri a Saumur, da Henri-Albert Chanel e Jeanne DeVolle. La bambina venne concepita al di fuori del vincolo matrimoniale, così come la sorella Julie, nata un anno prima. Albert e Jeanne si sposarono solo il 17 novembre 1884. Il padre di Gabrielle era un venditore ambulante, che girovagava per mercati dell'Auvergne, tra i monti della Francia sud-orientale. La madre, Jeanne, figlia di un locandiere, diede alla luce Gabrielle all'età di diciannove anni.
La famiglia si trasferì poco dopo a Issoire[ In seguito alla nascita dell'ultimogenito, la famiglia traslocò a Brive-la-Gaillarde, dove Jeanne, probabilmente spossata dalle gravidanze, si ammalò e morì in seguito a una febbre accompagnata da un attacco di asma. Venne trovata morta una mattina del febbraio 1895[8], all'età di trentatre anni. L'età della donna alla sua morte è stata messa in discussione a causa della discordanza di testimonianze: Chanel dichiarò che aveva 6 anni all'epoca, mentre in realtà ne aveva già 11
In seguito alla morte della moglie, Albert prese con sé i figli per abbandonarli nuovamente presso la residenza della propria madre, a Vichy La donna non poté occuparsi personalmente dei bambini e Lucien e Alphonse vennero quindi mandati a lavorare presso un'azienda agricola. Le tre sorelline Chanel, invece, furono affidate alle suore della congregazione del Sacro Cuore, presso l'orfanotrofio di Aubazine Ad occuparsi degli orfani fu anche una coppia di zii: Louise Chanel e Paul Costier.
Nelle collezioni di Chanel si può percepire l'influenza degli anni di vita monacale. Come fa notare Karen Karbo, le suore hanno ispirato in Mademoiselle l'«amore per il bianco ed il nero» e l'«austerità»
All'orfanotrofio, le sorelle Chanel facevano parte di un gruppo di bambine senza famiglia o con parenti così poveri da non potersi permettere donazioni all'istituto. Le bambine venivano quindi trattate diversamente e sfavorite rispetto alle altre.
Superato il limite di età per restare all'orfanotrofio, Julie e Gabrielle vennero mandate presso una scuola di apprendimento delle arti domestiche di Notre Dame.
Coco compì diciotto anni nel 1901 e iniziò a lavorare come commessa a Moulin, presso il negozio di biancheria e maglieria Maison Grampayre. Lì mise a punto le nozioni di cucito apprese dalle suore di Notre Dame e approfondite con zia Louise.
Negli stessi anni in cui lavorava presso la bottega Maison Grampayre, intraprese una breve carriera come cantante presso un caffè-concerto. Sembra che il soprannome Coco derivi dalla canzone Qui qu'a vu Coco?, in cui Gabrielle si esibiva(anche se, come vuole la mitologia Chanel, esistono più versioni anche per quanto riguarda questo particolare).
La prima svolta nella vita di Gabrielle è l'incontro con il suo primo amante, Etienne de Balsan.
Chanel incontrò Balsan nel 1904. Quando si conobbero — presso uno dei caffè-concerto di Moulin — lei aveva 21 anni e lui 24. Balsan fu anche il primo finanziatore della stilista. Figlio di imprenditori tessili, e ufficiale di cavalleria, Balsan invitò Chanel a trasferirsi presso il suo castello a Royallieu, nel 1908.
La loro storia durò sei anni.
Come scrive Karen Karbo nel suo libro, «lo stile rivoluzionario di Coco Chanel» sembrava essere «una risposta istintiva al fatto che non s'integrava con la gente cool di Royallieu»
Al castello alloggiava anche l'altra amante di Balsan, Emilienne D'Aleçon, che lo lasciò presto per un fantino. Balsan era un appassionato di cavalli e di corse, perciò Chanel si ritrovò a passare le sue giornate nelle stalle dei purosangue del suo amante. Imparò a cavalcarli e destò l'ammirazione non solo di Balsan, ma anche dei suoi amici. Probabilmente fu proprio la vita equestre che le ispirò successivamente i pantaloni da cavallerizza e le cravattine lavorate a maglia.
Nonostante Balsan non comprendesse il desiderio creativo di Chanel e la sua voglia di lavorare, la assecondò permettendole di creare cappelli presso il suo appartamento parigino, in Boulevard Malesherbes.
Intorno al 1909, Coco Chanel iniziò la sua carriera realizzando cappellini[16]: in un'epoca in cui vigevano cappelli sontuosi — ricoperti di piume e impossibili da indossare senza l'elaborata struttura di sostegno, chiamata Pompadur — i cappellini di paglia di Chanel, ornati da semplici fiori in raso o singole piume, scioccarono.
La sua prima cliente fu proprio Emilienne D'Aleçon, che sfoggiò la creazione di Gabrielle all'ippodromo di Longchamps
Attraverso la rete di amicizie di Balsan, Chanel formò la sua prima clientela.
Boy Capel e Rue Cambon
Presso la residenza del suo primo amante, Chanel incontrò quello che viene considerato l'amore della sua vita[18], Boy Capel.
Boy era un industriale di Newcastle, impegnato nell'esportazione del carbone. A differenza di Balsan, Capel incoraggiò e finanziò il lavoro di Chanel. I due andarono a vivere insieme a Parigi, dove Capel le anticipò i soldi per permetterle di aprire la sua boutique al 31 Rue Cambon[19].
Coco e Boy non si sposarono mai a causa del divario sociale che li separava, essendo appunto Chanel un'orfana di incerte origini e Capel un rappresentante dell'alta borghesia». Un'altra causa fu il fatto che Boy mise Chanel davanti ad una decisione: "l'amore della sua vita o il lavoro", mettendola al corrente che avrebbe sposato un'altra donna. Lei inconsapevolmente scelse il lavoro.
Nel 1912, quando il negozio era già ormai avviato da due anni, Chanel iniziò a vendere oltre ai suoi cappellini anche capi di vestiario come maglioni, gonne e qualche vestito.
Il bianco ed il nero non sono gli unici colori utilizzati da Chanel, che impiegò nei suoi abiti anche tonalità come il beige, il grigio e il blu marine[23].
Nello stesso anno, in circostanze ignote, venne a mancare la sorella maggiore di Chanel, Julie. Coco non poté però prendersi cura del nipotino André perché al tempo, la legge non permetteva l'affidamento di un bambino ad una donna non sposata.[24].
Gli anni dieci
Capel fu per Chanel non solo un amante, ma anche il suo finanziatore.
Nel 1913, Capel aprì per Chanel un nuovo negozio nella località balneare di Deauville. Il negozio sorgeva tra il Gran Casinò e l'albergo più lussuoso del posto, l'Hotel Normandie.
A Deauville, ispirata dai marinai al lavoro, Chanel reinterpretò il loro abbigliamento, realizzando dei maglioni col medesimo scollo. Tutto lo stile di Chanel si rifaceva alla vita comune delle persone che la circondavano, per dare all'abbigliamento quella praticità che la Belle Époque aveva sostituito con bustini, corsetti e impalcature per cappelli.
Coco veniva associata da Paul Poiret allo stile stile pauvre, mentre Karen Karbo, sostiene che Chanel «non attinse il suo stile dalle classi più povere, ma dal genere umano»[26].
La Grande Guerra
Nell'estate del 1914 scoppiò la guerra e Chanel Modes decollò....
Le famiglie più facoltose della Francia trascorrevano il periodo estivo nella località costiera di Deauville. Lì le signore potevano acquistare bei cappellini ed abiti leggeri da Gabrielle Chanel.
Alla fine di luglio l'Austria dichiarò guerra alla Serbia, mentre la Germania si schierava contro la Russia e la Francia. L'Europa iniziava a muoversi verso il primo conflitto mondiale, mentre Chanel vedeva la sua clientela migrare di ritorno verso la capitale.
Capel, grazie ai suoi giacimenti carboniferi, rifornì gli Alleati e venne a contatto con personalità influenti[27]. Fece prima parte dello Stato Maggiore di Sir John French[28] e in seguito divenne consigliere del primo ministro francese Georges Clemenceau[29].Attraverso i suoi contatti, Capel venne messo a conoscenza di informazioni segrete.
La Chanel Modes stava per chiudere, quando Coco ricevette notizie da Capel, che le suggerì di non interrompere l'attività...
In agosto vi fu la dichiarazione di guerra della Germania alla Francia e quella dell'Inghilterra alla Germania, che aveva invaso il Belgio e raggiunse ben presto la capitale francese. I giovani uomini francesi si arruolarono, mentre le mogli fecero ritorno a Deauville, dove si impegnarono in opere di volontariato per assistere feriti.
Chanel era l'unico negozio di abbigliamento rimasto aperto e offriva capi di vestiario che in quella situazione si presentavano pratici e adatti alle esigenze.
« Finiva un mondo, un altro stava per nascere. Io stavo là; si presentò un'opportunità, la presi. Avevo l'età di quel secolo nuovo che si rivolse dunque a me per l'espressione del suo guardaroba. Occorreva semplicità, comodità, nitidezza: gli offrii tutto questo, a sua insaputa. »
(Coco Chanel, Un secolo di moda italiana, 1900-2000, 2005, p.34)
Sull'onda del successo di Deauville, il 15 luglio 1915[30] Chanel Modes aprì anche sulla costa atlantica della Francia, lontano dalle linee del fronte, a Biarritz, al confine con la Spagna neutrale con cui iniziò il commercio.
Nel 1917, in uno dei cinque laboratori che Chanel aveva aperto, 60 sarte erano impegnate a confezionare solo abiti per le ricche signore spagnole.
Il 1916 è l'anno del jersey: Coco Chanel acquistò dall'industriale tessile Jean Rodier una partita di jersey lavorato a macchina, col quale iniziò a realizzare i suoi capi.
Come vuole la mitologia Chanel esiste anche un'altra versione: il contratto sottoscritto per Rue Cambon prevedeva che il negozio vendesse solo cappelli, perché vi era già nei paraggi un negozio d'abbigliamento. Non essendo a quell'epoca il jersey considerato materiale per vestiario da donna, pare che Chanel abbia aggirato i termini contrattuali.
L'introduzione nel settore dell'abbigliamento di questo materiale fino ad allora destinato alla realizzazione di biancheria fu una vera novità. Ancora oggi Chanel è nota per le sue creazioni in jersey.
Nel 1917, Chanel con l'aiuto di Capel riuscì ad ampliare le sue attività di Parigi e di Biarritz, arrivando a contare cinque laboratori e trecento lavoranti.
Misia Sert e il circolo degli artisti
Fu in quegli anni che Chanel fece la conoscenza di Misia Sert, la donna che la introdusse nel mondo degli artisti e degli intellettuali.
Maria Misia Sophie Olga Godebska Natanson Edwards Sert, pianista russa, aveva fatto il suo ingresso nel mondo dell'arte in seguito al suo matrimonio con il fondatore della rivista d'avanguardia, Revue Blanche, Thadèe Natanson.
L'incontro tra Misia e Coco avvenne durante una serata organizzata da Cècile Sorel. Quando la festa si concluse, Chanel mise il suo cappotto e Misia non rimase indifferente al capo. La donna polacca elogiò la giacca della stilista e Chanel se la levò di dosso per regalargliela[36]. Grazie a questa amicizia, Chanel poté fare la conoscenza di figure come Paul Morand, Pablo Picasso, Jean Cocteau, Max Jacob e Igor Stravinsky (col quale, nel 1921, ebbe una relazione).
Nel 1918, Chanel rese al suo amante la somma completa che le aveva prestato. Lo stesso anno Capel si fidanzò con la giovane Diana Lister Wyndham, per rafforzare la sua posizione sociale e la sposò in ottobre. Tuttavia anche dopo il matrimonio, Capel e Chanel non interruppero la loro frequentazione. La relazione si protrasse fino al 1919.
Quell'anno, nella notte fra il 22 e il 23 dicembre, Capel, in viaggio da Parigi verso Cannes, ebbe un grave incidente stradale e perse la vita all'età di 38 anni. Chanel ricevette la notizia nella notte e partì immediatamente verso il luogo dell'incidente, dove arrivò solo all'alba di tre giorni dopo. Sulla strada c'erano ancora i resti dell'incidente, presso i quali Coco pianse il suo amante. Probabilmente a causa della grave perdita Mademoiselle si buttò a capofitto nel lavoro.
Il 1920 fu l'anno di un'altra perdita: la sorella minore di Gabrielle, Antoinette, partita col suo novello sposo argentino alla volta di Buenos Aires, morì a causa di un'epidemia di spagnola.
Le rimanevano solo Alphonse e Lucien. Dal momento del suo decollo finanziario, Chanel non volle più riconoscere i suoi fratelli, ma inviò comunque loro del denaro, fino a che non fu costretta a chiudere l'attività, a causa della seconda guerra mondiale.
Coco Chanel nel 1928
I successi
Negli anni venti, Chanel lanciò la moda del capello corto. Fu una fatalità. Essendosi accidentalmente bruciata i capelli su un fornello, tagliò anche il resto. Dopo poco tempo le giovani donne alla moda imitarono il suo taglio[43].
Nel 1925 Chanel inizia la frequentazione del duca di Westminster, Hugh Richard Arthur Grosvenor, noto come Bendor. Fu lui che fece nascere in lei l'interesse per il tweed scozzese
Lo stesso anno a Parigi si tenne l'Exposition des Arts Décoratifs et Industriels Modernes, una rassegna delle innovazioni nelle arti applicate, che segnò la disfatta dello stilista Paul Poiret, rivale di Coco. Chanel imponeva il nuovo stile la cui parola chiave era comodità, Poiret non seppe adeguarsi e il richiamo alla Belle Époque dei suoi capi segnò il tramonto della sua era.
Il 1926 per lei fu l'anno del debutto del tubino nero, la petite robe noire, che la rivista statunitense Vogue dell'epoca elogiò, paragonandolo a un'automobile.
Chanel procedeva nella sua ascesa e nel 1928 la sua maison parigina si trasferì da Rue de Cambon 21 al numero 31, dove occupò ben tre piani.
Nel 1927, gli abiti sportivi firmati Chanel arrivarono anche oltremanica, nel quartiere di Mayfair a Londra, dove venne aperto il nuovo negozio di Coco.
CHANEL N°5
Negli anni venti, Coco intraprese un relazione col Granduca Dmitrij Pavlovič, cugino dello zar Nicola II, che conobbe a Biarritz.
Nel 1921 uscì sul mercato il suo profumo Chanel N°5, messo a punto con l'aiuto del profumiere Ernest Beaux, presentatole da Pavlovitc. Beaux era figlio del profumiere dello Zar, emigrato in Francia a causa della Rivoluzione russa, e aveva realizzato in Russia (non ancora Unione Sovietica) un Eau de Catherine - nome poco consono ai tempi e al luogo - che, con qualche accorgimento, sarebbe diventato il profumo di cui era alla ricerca Coco in Francia].
La fragranza era del tutto innovativa, in un'epoca in cui iniziavano a farsi timidamente largo i profumi di sintesi. Il profumo di Chanel venne realizzato artificialmente, con molecole sintetiche. Nasceva così un nuovo ideale di profumo «[…]frutto di una fabbricazione, un profumo femminile» che odora «di donna, perché una donna deve odorare di donna e non di rosa».
La fragranza prese il nome di N°5 in quanto corrispondeva alla quinta essenza scelta da Chanel (ma si dice anche che il 5 fosse il suo numero preferito.
Nel 1924, Chanel entra in società con i fratelli Paul e Pierre Wertheimer, proprietari della casa di profumi e cosmesi Les Parfumeries Bourjois, che acquistarono i diritti sulla produzione di profumi e prodotti di bellezza col marchio Chanel.
In seguito alla fondazione della società e all'enorme successo dello Chanel N°5, Gabrielle rivendicò i diritti sul suo profumo. Le azioni legali andarono avanti negli anni, ma Chanel non ottenne mai un incremento della sua percentuale iniziale.
Al N°5, seguirono il N°22 nel 1922, Gardénia nel 1925, Bois des îles nel 1926, Cuir de Russie nel 1927, Sycomore, Une idèe nel 1930, Jasmin 1932, Pour Monsieur nel 1955 e per finire il N19 nel 1970.
Celebre la frase di Marilyn Monroe: "What do I wear in bed? Chanel no.5, of course."
Lo stile Chanel e la rivoluzione femminile
Al termine della prima guerra mondiale, durante la quale Chanel Modes aveva imposto la sua presenza sul mercato, nasce il prototipo della garçonne, che Chanel interpretò insieme a Patou.
Coco Chanel, attraverso la moda, rappresentò il nuovo modello femminile che stava sviluppandosi nel 900: una donna dinamica,che lavorava e che non poteva più essere schiava dell'abbigliamento costrittivo della Belle Époque.
« Fino a quel momento avevamo vestito donne inutili, oziose, donne a cui le cameriere dovevano infilare le maniche; invece, avevo ormai una clientela di donne attive; una donna attiva ha bisogno di sentirsi a suo agio nel proprio vestito. Bisogna potersi rimboccare le maniche. »
(Coco Chanel, Storia illustrata della moda e del costume,
Chanel diede a quella nuova donna il vestito giusto. Lo stesso famoso vestitino nero sembra proprio ispirato alla divisa delle commesse. La stilista sosteneva che «la vera eleganza non può prescindere dalla piena possibilità del libero movimento».
Per l'utilizzo di materiali umili e per l'ispirazione che traeva dalle figure legate alla vita lavorativa, Chanel venne rinominata la regina del genre pauvre, una «“povertà di lusso" molto moderna e snob». Paul Poiret chiamava lo stile di Coco misérbailisme de luxe. La stilista liberò le donne da corsetti e impalcature per cappelli, donando loro abiti comodi, semplici nelle linee per intraprendere una vita quotidiana dinamica.
Quell'anno Paul muore giocando a tennis sotto gli occhi di Chanel, che inconsolabile dopo la perdita dell'amante «per combattere le sue insonnie, […]si mette ad abusare di Sédol, un ipnotico a base di morfina del quale presto non si potrà più liberare».
Chanel non fu solo una grande stilista, ma impiegò il suo talento anche nelle opere teatrali e cinematografiche.
L'esordio risale al 1911, quando il suo cappello di paglia entrò sulla scena di Bel Ami, di Guy de Maupassant, adagiato sul capo dell'attrice Gabrielle Dorziat.
Debuttò però nella vera carriera da costumista nel 1922[63], disegnando i costumi per l'opera realizzata dal poeta Cocteau, Antigone. Chanel realizzò delle tuniche di lana grezza, decorate con motivi greci.
In seguito, nel 1924[64], Chanel lavorò nuovamente per Cocteau, realizzando gli abiti per gli attori del balletto Le Train Bleu; anche Picasso contribuì all'opera, occupandosi della scenografia.
Più tardi, grazie al suo nuovo amante, il duca di Westminster, Chanel incontrò Samuel Goldwyn, il quale la invitò negli Stati Uniti per realizzare i costumi da impiegare nei suoi film. Chanel accettò e nell'aprile del 1931[65] partì alla volta di Hollywood in compagnia di Misia. Il contratto sottoscritto da Chanel prevedeva che realizzasse abiti per l'attrice Gloria Swanson, che tuttavia rifiutò di indossare sempre abiti della stessa stilista. La carriera americana di Chanel si ridusse a un solo film.
Con l'avvento della seconda guerra mondiale, Chanel chiuse il suo atelier, per riaprirlo solo alla fine del conflitto. Nel 1939, fuggì da una Parigi bombardata, per farvi ritorno nell'agosto del 1940.
In quegli anni, Coco intraprese una relazione con una membro del controspionaggio nazista, Hans Günter von Dincklage, detto Spatz, e in seguito si legò a uno dei giovani capi delle SS, Walter Schellenberg.
Voleva servirsi degli agganci che aveva nell'ambiente inglese e in quello tedesco per mandare in porto la sua strategia di pace, escogitata insieme a Theodor Momm. L'operazione prese il nome di Modellhut.
Fu un vestito da ballo realizzato con una tenda di taffetà a segnare il suo ritorno. Nel 1953, Marie-Hélène de Rotschild, figlia di Edmond e Maggy van Zuylen, si apprestava a partecipare al ballo più importante dell'anno con un abito che Chanel definì un «orrore.
Coco si improvvisò sarta e con il tessuto di una tenda cremisi, cucito direttamente sul corpo della giovane donna, realizzò per lei un nuovo vestito. Il giorno dopo, Marie-Hélène disse a Chanel quale scalpore avesse suscitato il suo abito. Nel 1954, ormai quasi settantunenne, Chanel riaprì la sua maison e si ripresentò al suo pubblico con una nuova collezione, che presentò il 5 febbraio del 1954.
I 30 modelli[75] sfilarono davanti agli occhi di una folla di compratori, fotografi e giornalisti. La prima reazione dei critici francesi fu assolutamente negativa, a causa del ricorrere dei vecchi temi[76]. Ben presto però i consensi iniziarono ad arrivare dall'America e Chanel tornò ancora una volta di moda.
Gli ultimi successi della Maison Chanel[modifica | modifica wikitesto]
Nell'anno del ritorno di Chanel, la stravaganza della Schiaparelli non era più acclamata come agli esordi, e la stilista fu costretta a chiudere.
La proposta di Chanel nell'anno della sua riapertura è il tailleur in tweed, con una gonna che riacquista un poco di lunghezza sotto il ginocchio, la giacca corta e i bottoni dorati. Nel 1955, Mademoiselle ottenne un altro successo, dando vita ad un altro intramontabile accessorio firmato Chanel: la borsetta . L'innovativo design si ispira, nella pura tradizione Chanel, al guardaroba maschile: per dare volume alla sua pochette, la stilista prese esempio dalle giacche che gli stallieri indossavano agli ippodromi. La borsa matelassé - ovvero trapuntata - presentava l'aggiunta di una tracolla, che consisteva in una catenella di metallo, intrecciata al cuoio.
La classicità di Chanel si conserva negli anni grazie alle linee definite dei contorni e ai tessuti opachi, che con i loro colori sono in grado di catturare la luce[.
Il semiologo francese Jean-Marie Floch individuò l'estraneità temporale di Chanel nella capacità che aveva la stilista di assemblare alla moda femminile
