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He Famous French Fashion Designer Coco Chanel Was Born in Which Region

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French fashion designer

Coco Chanel
Coco Chanel, 1920.jpg

Chanel in 1920
Built-in

Gabrielle Bonheur Chanel


(1883-08-19)nineteen August 1883[i]

Saumur, France
Died 10 January 1971(1971-01-10) (aged 87)

Paris, French republic
Resting place Bois-de-Vaux Cemetery, Lausanne, Switzerland
Occupation
  • Milliner
  • dressmaker
  • fashion designer
Known for Double-C logo
Chanel conform
Piffling black apparel
The Chanel bag
Chanel No. 5

Characterization(s)

 Chanel
Parent(southward) Eugénie Jeanne Devolle
Albert Chanel
Awards Neiman Marcus Fashion Honor, 1957

Gabrielle Bonheur "Coco" Chanel ( shə-NEL ; xix August 1883 – ten January 1971)[2] was a French fashion designer and businesswoman. The founder and namesake of the Chanel brand, she was credited in the mail-Earth War I era with popularizing a sporty, coincidental chichi as the feminine standard of manner. This replaced the "corseted silhouette" that was dominant beforehand with a way that was simpler, far less time consuming to put on and remove, more comfy, and less expensive, all without sacrificing elegance. She is the merely fashion designer listed on Time magazine's list of the 100 nearly influential people of the 20th century.[iii] A prolific fashion creator, Chanel extended her influence beyond couture clothing, realizing her aesthetic pattern in jewellery, handbags, and fragrance. Her signature aroma, Chanel No. five, has go an iconic product, and Chanel herself designed her famed interlocked-CC monogram, which has been in use since the 1920s.[4]

During the German language occupation of France during World State of war Ii, Chanel was criticized for existence besides close to the German occupiers to boost her professional person career; one of Chanel'southward liaisons was with a German language diplomat, Businesswoman (Freiherr) Hans Günther von Dincklage.[5] [6] Afterwards the war, Chanel was interrogated nearly her relationship with von Dincklage, simply she was not charged as a collaborator due to intervention by British Prime Minister Winston Churchill.[vii] Subsequently several post-war years in Switzerland, she returned to Paris and revived her fashion house. In 2011, Hal Vaughan published a book virtually Chanel based on newly declassified documents, revealing that she had collaborated direct with the Nazi intelligence service, the Sicherheitsdienst. One plan in late 1943 was for her to carry an SS peace overture to Churchill to end the state of war.[8]

Chanel "interlocking C" logo

Early on life [edit]

Gabrielle Bonheur Chanel was born in 1883 to Eugénie Jeanne Devolle Chanel, known every bit Jeanne, a laundrywoman, in the charity hospital run by the Sisters of Providence (a poorhouse) in Saumur, Maine-et-Loire.[9] : 14 [10] She was Jeanne's second kid with Albert Chanel; the first, Julia, had been built-in less than a year earlier.[10] Albert Chanel was an itinerant street vendor who peddled work clothes and undergarments,[xi] : 27 living a nomadic life, traveling to and from market towns. The family unit resided in rundown lodgings. In 1884, he married Jeanne Devolle,[9] : sixteen persuaded to do so by her family unit who had "united, effectively, to pay Albert."[9] : xvi

At nascence, Chanel's name was entered into the official registry equally "Chasnel". Jeanne was besides unwell to attend the registration, and Albert was registered as "travelling".[9] : 16 With both parents absent, the infant'south final proper name was misspelled, probably due to a clerical error.

She went to her grave every bit Gabrielle Chasnel because to correct legally the misspelled proper noun on her birth certificate would reveal that she was born in a poorhouse hospice.[12] The couple had six[13] children—Julia, Gabrielle, Alphonse (the kickoff boy, born 1885), Antoinette (born 1887), Lucien, and Augustin (who died at six months)[13]—and lived crowded into a 1-room lodging in the town of Brive-la-Gaillarde.[ten]

When Gabrielle was xi,[4] [fourteen] Jeanne died at the age of 32.[9] : 18 [10] The children did not nourish school.[13] Her father sent his two sons to work as farm laborers and sent his three daughters to the convent of Aubazine, which ran an orphanage. Its religious guild, the Congregation of the Sacred Heart of Mary, was "founded to intendance for the poor and rejected, including running homes for abandoned and orphaned girls".[9] : 27 Information technology was a stark, frugal life, demanding strict discipline. Placement in the orphanage may have contributed to Chanel's hereafter career, equally information technology was where she learned to stitch. At age eighteen, Chanel, too sometime to remain at Aubazine, went to live in a boarding business firm for Catholic girls in the town of Moulins.[8] : v

Afterward in life, Chanel would retell the story of her babyhood somewhat differently; she would often include more glamorous accounts, which were generally untrue.[x] She said that when her female parent died, her father sailed for America to seek his fortune, and she was sent to live with ii aunts. She also claimed to take been born a decade later than 1883 and that her mother had died when she was much younger than 11.[15] [16]

Personal life and early on career [edit]

Aspirations for a phase career [edit]

Having learned to sew during her six years at Aubazine, Chanel institute employment as a seamstress.[17] When not sewing, she sang in a cabaret frequented by cavalry officers. Chanel made her stage debut singing at a cafe-concert (a popular entertainment venue of the era) in a Moulins pavilion, La Rotonde. She was a poseuse, a performer who entertained the crowd between star turns. The coin earned was what they managed to accumulate when the plate was passed. It was at this fourth dimension that Gabrielle acquired the name "Coco" when she spent her nights singing in the cabaret, often the song, "Who Has Seen Coco?" She oft liked to say the nickname was given to her by her male parent.[eighteen] Others believe "Coco" came from Ko Ko Ri Ko, and Qui qu'a vu Coco, or information technology was an allusion to the French word for kept woman, cocotte.[19] As an entertainer, Chanel radiated a juvenile attraction that tantalized the military habitués of the cabaret.[8]

In 1906, Chanel worked in the spa resort town of Vichy. Vichy boasted a profusion of concert halls, theatres, and cafés where she hoped to achieve success every bit a performer. Chanel's youth and physical charms impressed those for whom she auditioned, only her singing voice was marginal and she failed to find stage work.[11] : 49 Obliged to find employment, she took work at the Grande Grille, where as a donneuse d'eau she was one whose job was to dispense glasses of the purportedly curative mineral water for which Vichy was renowned.[11] : 45 When the Vichy season concluded, Chanel returned to Moulins, and her former haunt La Rotonde. She realised then that a serious phase career was not in her futurity.[11] : 52

Balsan and Capel [edit]

Caricature of Chanel and Arthur "Male child" Capel by Sem, 1913

At Moulins, Chanel met a young French ex-cavalry officeholder and material heir, Étienne Balsan. At the age of xx-three, Chanel became Balsan'south mistress, supplanting the courtesan Émilienne d'Alençon as his new favourite.[11] : 10 For the next three years, she lived with him in his château Royallieu near Compiègne, an expanse known for its wooded equestrian paths and the hunting life.[8] : five–six It was a lifestyle of self-indulgence. Balsan'southward wealth allowed the cultivation of a social set that reveled in partying and the gratification of man appetites, with all the implied accompanying decadence. Balsan showered Chanel with the baubles of "the rich life"—diamonds, dresses, and pearls. Biographer Justine Picardie, in her 2010 study Coco Chanel: The Legend and the Life, suggests that the fashion designer's nephew, André Palasse, supposedly the merely kid of her sister Julia-Berthe who had committed suicide, was Chanel's child past Balsan.[twenty]

In 1908, Chanel began an affair with 1 of Balsan's friends, Captain Arthur Edward 'Boy' Capel.[21] In later years, Chanel reminisced of this time in her life: "2 gentlemen were outbidding for my hot niggling body."[22] : 19 Capel, a wealthy member of the English upper class, installed Chanel in an apartment in Paris.[8] : 7 and financed her first shops. It is said that Capel's sartorial way influenced the conception of the Chanel look. The bottle design for Chanel No. 5 had two probable origins, both attributable to her clan with Capel. It is believed Chanel adapted the rectangular, beveled lines of the Charvet toiletry bottles he carried in his leather traveling case[23] or she adapted the pattern of the whiskey decanter Capel used. She so much admired it that she wished to reproduce it in "exquisite, expensive, delicate glass".[24] : 103 The couple spent fourth dimension together at fashionable resorts such as Deauville, simply despite Chanel's hopes that they would settle together, Capel was never faithful to her.[21] Their affair lasted nine years. Even later on Capel married an English language aristocrat, Lady Diana Wyndham in 1918, he did non completely break off with Chanel. He died in a car accident on 22 December 1919.[25] [26] [27] A roadside memorial at the site of Capel'due south accident is said to take been commissioned by Chanel.[28] Xx-five years after the event, Chanel, so residing in Switzerland, confided to her friend, Paul Morand, "His decease was a terrible blow to me. In losing Capel, I lost everything. What followed was not a life of happiness, I have to say."[8] : ix

Chanel had begun designing hats while living with Balsan, initially as a diversion that evolved into a commercial enterprise. She became a licensed milliner in 1910 and opened a boutique at 21 rue Cambon, Paris, named Chanel Modes.[29] As this location already housed an established article of clothing concern, Chanel sold only her millinery creations at this address. Chanel's millinery career bloomed once theatre actress Gabrielle Dorziat wore her hats in Fernand Nozière's play Bel Ami in 1912. Subsequently, Dorziat modelled Chanel'south hats again in photographs published in Les Modes.[29]

Deauville and Biarritz [edit]

In 1913, Chanel opened a boutique in Deauville, financed by Arthur Capel, where she introduced deluxe casual habiliment suitable for leisure and sport. The fashions were constructed from humble fabrics such as jersey and tricot, at the time primarily used for men'southward underwear.[29] The location was a prime ane, in the center of town on a fashionable street. Hither Chanel sold hats, jackets, sweaters, and the marinière, the sailor blouse. Chanel had the defended back up of two family unit members, her sister Antoinette, and her paternal aunt Adrienne, who was of a like age.[11] : 42 Adrienne and Antoinette were recruited to model Chanel'southward designs; on a daily ground the ii women paraded through the town and on its boardwalks, ad the Chanel creations.[11] : 107–08

Chanel, adamant to re-create the success she enjoyed in Deauville, opened an establishment in Biarritz in 1915. Biarritz, on the Côte Basque, close to wealthy Spanish clients, was a playground for the moneyed set and those exiled from their native countries by the war.[thirty] The Biarritz shop was installed non as a storefront, but in a villa opposite the casino. Afterward one year of functioning, the business proved to exist so lucrative that in 1916 Chanel was able to reimburse Capel'southward original investment.[11] : 124–25 In Biarritz Chanel met an expatriate aristocrat, the Grand Duke Dmitri Pavlovich of Russia. They had a romantic interlude, and maintained a close clan for many years subsequently.[xi] : 166 By 1919, Chanel was registered as a couturière and established her maison de couture at 31 rue Cambon, Paris.[29]

Established couturière [edit]

Chanel (right) in her hat store, 1919. Caricature by Sem.

In 1918, Chanel purchased the building at 31 rue Cambon, in 1 of the near fashionable districts of Paris. In 1921, she opened an early on incarnation of a way boutique, featuring wearable, hats, and accessories, later expanded to offering jewelry and fragrances. By 1927, Chanel endemic five properties on the rue Cambon, buildings numbered 23 to 31.[31] [ failed verification ]

In the spring of 1920, Chanel was introduced to the Russian composer Igor Stravinsky by Sergei Diaghilev, impresario of the Ballets Russes.[32] During the summer, Chanel discovered that the Stravinsky family sought a place to alive, having left the Soviet Union after the war. She invited them to her new home, Bel Respiro, in the Paris suburb of Garches, until they could notice a suitable residence.[32] : 318 They arrived at Bel Respiro during the second week of September[32] : 318 and remained until May, 1921.[32] : 329 Chanel also guaranteed the new (1920) Ballets Russes production of Stravinsky's Le Sacre du Printemps ('The Rite of Bound') confronting financial loss with an anonymous gift to Diaghilev, said to be 300,000 francs.[32] : 319 In add-on to turning out her couture collections, Chanel threw herself into designing dance costumes for the Ballets Russes. In the years 1923–1937, she collaborated on productions choreographed by Diaghilev and dancer Vaslav Nijinsky, notably Le Railroad train bleu, a trip the light fantastic toe-opera; Orphée and Oedipe Roi.[8] : 31–32

In 1922, at the Longchamps races, Théophile Bader, founder of the Paris Galeries Lafayette, introduced Chanel to businessman Pierre Wertheimer. Bader was interested in selling Chanel No. 5 in his department store.[33] In 1924, Chanel made an agreement with the Wertheimer brothers, Pierre and Paul, directors since 1917 of the eminent perfume and cosmetics house Bourjois. They created a corporate entity, Parfums Chanel, and the Wertheimers agreed to provide full financing for the product, marketing, and distribution of Chanel No. 5. The Wertheimers would receive seventy percent of the profits, and Théophile Bader twenty percent. For ten percent of the stock, Chanel licensed her name to Parfums Chanel and withdrew from involvement in business operations.[24] : 95 Later, unhappy with the arrangement, Chanel worked for more than xx years to proceeds full control of Parfums Chanel.[33] [24] She said that Pierre Wertheimer was "the bandit who screwed me".[24] : 153

One of Chanel'southward longest enduring associations was with Misia Sert, a member of the maverick elite in Paris and married woman of Spanish painter José-Maria Sert. It is said that theirs was an firsthand bond of kindred souls, and Misia was attracted to Chanel past "her genius, lethal wit, sarcasm and maniacal destructiveness, which intrigued and appalled everyone".[8] : 13 Both women were convent-schooled, and maintained a friendship of shared interests and confidences. They also shared drug use. By 1935, Chanel had get a habitual drug user, injecting herself with morphine on a daily ground: a addiction she maintained to the terminate of her life.[8] : eighty–81 According to Chandler Burr's The Emperor of Scent, Luca Turin related an counterfeit story in circulation that Chanel was "called Coco because she threw the near fabulous cocaine parties in Paris".[34]

The writer Colette, who moved in the same social circles as Chanel, provided a whimsical description of Chanel at work in her atelier, which appeared in Prisons et Paradis (1932):

If every human face bears a resemblance to some animal, then Mademoiselle Chanel is a small black bull. That tuft of curly blackness hair, the attribute of bull-calves, falls over her brow all the way to the eyelids and dances with every maneuver of her head.[11] : 248

Associations with British aristocrats [edit]

In 1923, Vera Bate Lombardi, (born Sarah Gertrude Arkwright), reputedly the illegitimate daughter of the Marquess of Cambridge, offered Chanel entry into the highest levels of British aristocracy. It was an elite group of associations revolving around such figures as politician Winston Churchill, aristocrats such as the Duke of Westminster and royals such as Edward, Prince of Wales. In Monte Carlo in 1923, at historic period forty, Chanel was introduced by Lombardi to the vastly wealthy Knuckles of Westminster, Hugh Richard Arthur Grosvenor, known to his intimates every bit "Bendor". The knuckles lavished Chanel with improvident jewels, plush fine art and a home in London'due south prestigious Mayfair commune. His thing with Chanel lasted ten years.[8] : 36–37

The knuckles, an outspoken antisemite, intensified Chanel's inherent contempt toward Jews. He shared with her an expressed homophobia. In 1946, Chanel was quoted past her friend and confidant, Paul Morand,

Homosexuals? ... I take seen immature women ruined by these atrocious queers: drugs, divorce, scandal. They will use any means to destroy a competitor and to wreak vengeance on a adult female. The queers desire to be women—but they are lousy women. They are mannerly![8] : 41

Congruent with her introduction to the duke was her introduction, again through Lombardi, to Lombardi's cousin, the Prince of Wales, Edward VIII. The prince allegedly was smitten with Chanel and pursued her in spite of her involvement with the Duke of Westminster. Gossip had it that he visited Chanel in her flat and requested that she call him "David", a privilege reserved only for his closest friends and family. Years later, Diana Vreeland, editor of Vogue, would insist that "the passionate, focused and fiercely-contained Chanel, a virtual tour de strength," and the Prince "had a cracking romantic moment together".[8] : 38

In 1927, the Duke of Westminster gave Chanel a parcel of land he had purchased in Roquebrune-Cap-Martin on the French Riviera. Chanel built a villa here, which she called La Pausa [ citation needed ] ('restful pause'), hiring the architect Robert Streitz. Streitz's concept for the staircase and patio contained design elements inspired by Aubazine, the orphanage where Chanel spent her youth.[8] : 48–49 [35] When asked why she did not marry the Knuckles of Westminster, she is supposed to have said: "There take been several Duchesses of Westminster. There is only one Chanel."[36]

During Chanel'south thing with the Duke of Westminster in the 1930s, her style began to reverberate her personal emotions. Her inability to reinvent the little black dress was a sign of such reality. She began to design a "less is more" aesthetic.[37]

Designing for flick [edit]

Grand Duke Dmitri Pavlovich Romanov in exile in the 1920s

In 1931, while in Monte Carlo Chanel became acquainted with Samuel Goldwyn. She was introduced through a mutual friend, the Grand Duke Dmitri Pavlovich, cousin to the final arbiter of Russian federation, Nicolas II. Goldwyn offered Chanel a tantalizing suggestion. For the sum of a million dollars (approximately Usa$75 one thousand thousand today), he would bring her to Hollywood twice a twelvemonth to pattern costumes for his stars. Chanel accepted the offer. Accompanying her on her first trip to Hollywood was her friend, Misia Sert.

En route to California from New York, traveling in a white train carriage luxuriously outfitted for her utilize, Chanel was interviewed past Colliers magazine in 1932. She said that she had agreed to go to Hollywood to "see what the pictures have to offering me and what I take to offer the pictures."[24] : 127 Chanel designed the wear worn on screen past Gloria Swanson, in This evening or Never (1931), and for Ina Claire in The Greeks Had a Word for Them (1932). Both Greta Garbo and Marlene Dietrich became individual clients.[38]

Her experience with American moviemaking left Chanel with a dislike for Hollywood's flick business and a distaste for the film world'due south civilization, which she called "infantile".[8] : 68 Chanel'south verdict was that "Hollywood is the upper-case letter of bad taste ... and information technology is vulgar."[8] : 62 Ultimately, her design aesthetic did non translate well to picture show. The New Yorker speculated that Chanel left Hollywood considering "they told her her dresses weren't sensational enough. She fabricated a lady wait like a lady. Hollywood wants a lady to look like two ladies."[39] Chanel went on to design the costumes for several French films, including Jean Renoir'southward 1939 picture La Règle du jeu, in which she was credited every bit La Maison Chanel. Chanel introduced the left-fly Renoir to Luchino Visconti, aware that the shy Italian hoped to work in moving picture. Renoir was favorably impressed by Visconti and brought him in to piece of work on his next film project.[9] : 306

Pregnant liaisons: Reverdy and Iribe [edit]

Chanel was the mistress of some of the most influential men of her time, just she never married. She had significant relationships with the poet Pierre Reverdy and the illustrator and designer Paul Iribe. After her romance with Reverdy concluded in 1926, they maintained a friendship that lasted some forty years.[eight] : 23 It is postulated that the legendary maxims attributed to Chanel and published in periodicals were crafted under the mentorship of Reverdy—a collaborative attempt.

A review of her correspondence reveals a complete contradiction between the clumsiness of Chanel the letter writer and the talent of Chanel as a composer of maxims ... After correcting the scattering of aphorisms that Chanel wrote nigh her métier, Reverdy added to this collection of "Chanelisms" a series of thoughts of a more full general nature, some touching on life and taste, others on attraction and love.[11] : 328

Her involvement with Iribe was a deep one until his sudden death in 1935. Iribe and Chanel shared the same reactionary politics, Chanel financing Iribe'southward monthly, ultra-nationalist and anti-republican newsletter, Le Témoin, which encouraged a fear of foreigners and preached antisemitism.[viii] : 78–79 [9] : 300 In 1936, ane year afterward Le Témoin ceased publication, Chanel veered to the opposite terminate of the ideological continuum past financing Pierre Lestringuez's radical left-wing magazine Futur.[nine] : 313

Rivalry with Schiaparelli [edit]

The Chanel couture was a lucrative business concern enterprise, employing 4,000 people past 1935.[38] As the 1930s progressed, Chanel's place on the throne of haute couture was threatened. The boyish await and the brusk skirts of the 1920s flapper seemed to disappear overnight. Chanel'due south designs for moving picture stars in Hollywood were not successful and had not enhanced her reputation every bit expected. More significantly, Chanel's star had been eclipsed by her premier rival, the designer Elsa Schiaparelli. Schiaparelli's innovative designs, replete with playful references to surrealism, were garnering critical acclaim and generating enthusiasm in the manner globe. Feeling she was losing her avant-garde edge, Chanel collaborated with Jean Cocteau on his theatre piece Oedipe Male monarch. The costumes she designed were mocked and critically lambasted: "Wrapped in bandages the actors looked like ambulant mummies or victims of some terrible accident."[viii] : 96 She was too involved in the costuming of Baccanale, a Ballets Russes de Monte Carlo product. The designs were made by Salvador Dalí. However, due to the declaration of war by United kingdom of great britain and northern ireland on 3 September 1939, the ballet was forced to leave London. They left the costumes in Europe and were re-made, according to Dali's initial designs, by Karinska.[xl]

Earth War II [edit]

In 1939, at the beginning of Earth State of war 2, Chanel closed her shops, maintaining her apartment situated to a higher place the couture house at 31 Rue de Cambon. She said that it was non a time for way;[30] every bit a result of her activeness, iv,000 female employees lost their jobs.[viii] : 101 Her biographer Hal Vaughan suggests that Chanel used the outbreak of state of war as an opportunity to retaliate against those workers who had struck for higher wages and shorter work hours in the French general labor strike of 1936. In closing her couture house, Chanel made a definitive statement of her political views. Her dislike of Jews, reportedly sharpened past her clan with social club elites, had solidified her beliefs. She shared with many of her circle a conviction that Jews were a threat to Europe because of the Bolshevik government in the Soviet Marriage.[8] : 101

During the German occupation, Chanel resided at the Hotel Ritz. Information technology was noteworthy as the preferred place of residence for upper-echelon High german military staff. During this fourth dimension, she had a romantic liaison with Businesswoman Hans Günther von Dincklage, a German aristocrat and member of Dincklage noble family. He served as diplomat in Paris and was a old Prussian Regular army officer and Chaser Full general who had been an operative in armed forces intelligence since 1920,[8] : 57 who eased her arrangements at the Ritz.[eight] : Chapter 11

Boxing for command of Parfums Chanel [edit]

Sleeping with the Enemy, Coco Chanel and the Undercover War written by Hal Vaughan further solidifies the consistencies of the French intelligence documents released by describing Coco as a "vicious antisemite" who praised Hitler.[37]

World War 2, specifically the Nazi seizure of all Jewish-owned belongings and business enterprises, provided Chanel with the opportunity to gain the full budgetary fortune generated by Parfums Chanel and its about profitable product, Chanel No. 5. The directors of Parfums Chanel, the Wertheimers, were Jewish. Chanel used her position as an "Aryan" to petition High german officials to legalize her merits to sole ownership.

On five May 1941, she wrote to the government ambassador charged with ruling on the disposition of Jewish financial avails. Her grounds for proprietary ownership were based on the merits that Parfums Chanel "is nevertheless the property of Jews" and had been legally "abandoned" by the owners.[24] : 150 [33]

She wrote:

I have an indisputable right of priority ... the profits that I accept received from my creations since the foundation of this concern ... are disproportionate ... [and] you can assistance to repair in part the prejudices I have suffered in the course of these seventeen years.[24] : 152–53

Chanel was not aware that the Wertheimers, anticipating the forthcoming Nazi mandates against Jews had, in May, 1940, legally turned control of Parfums Chanel over to Félix Amiot, a Christian French businessman and industrialist. At war'due south end, Amiot returned "Parfums Chanel" to the hands of the Wertheimers.[24] : 150 [33]

During the menstruation directly following the cease of World War Ii, the business world watched with interest and some anticipation the ongoing legal wrestle for control of Parfums Chanel. Interested parties in the proceedings were cognizant that Chanel's Nazi affiliations during wartime, if fabricated public noesis, would seriously threaten the reputation and status of the Chanel brand. Forbes mag summarized the dilemma faced by the Wertheimers: [information technology is Pierre Wertheimer'south worry] how "a legal fight might illuminate Chanel's wartime activities and wreck her prototype—and his business organization."[24] : 175

Chanel hired René de Chambrun, Vichy France Prime Minister Pierre Laval'due south son-in-constabulary, as her lawyer to sue Wertheimer.[41] Ultimately, the Wertheimers and Chanel came to a mutual accommodation, renegotiating the original 1924 contract. On 17 May 1947, Chanel received wartime profits from the auction of Chanel No. 5, an amount equivalent to some nine one thousand thousand dollars in 20-showtime century valuation. Her future share would exist two percent of all Chanel No. 5 sales worldwide. The financial benefit to her would be enormous. Her earnings were projected at $25 meg a twelvemonth, making her ane of the richest women in the world at the time. In improver, Pierre Wertheimer agreed to an unusual stipulation proposed past Chanel herself: Wertheimer agreed to pay all of Chanel's living expenses—from the trivial to the big—for the rest of her life.[24] : 175–77 [42]

Activity as Nazi agent [edit]

Declassified archival documents unearthed by Vaughan reveal that the French Préfecture de Police had a certificate on Chanel in which she was described equally "Couturier and perfumer. Pseudonym: Westminster. Agent reference: F 7124. Signalled equally suspect in the file" (Pseudonyme: Westminster. Indicatif d'agent: F 7124. Signalée comme suspecte au fichier).[43] [8] : 140 For Vaughan, this was a piece of revelatory information linking Chanel to German intelligence operations. Anti-Nazi activist Serge Klarsfeld declared, "Just because Chanel had a spy number doesn't necessarily hateful she was personally involved. Some informers had numbers without being enlightened of it." ("Ce n'est pas parce que Coco Chanel avait un numéro d'espion qu'elle était nécessairement impliquée personnellement. Certains indicateurs avaient des numéros sans le savoir").[44]

Vaughan establishes that Chanel committed herself to the German crusade as early as 1941 and worked for Full general Walter Schellenberg, chief of the German language intelligence agency Sicherheitsdienst (Security Service; SD) and the military intelligence spy network Abwehr (Counterintelligence) at the Reich Security Principal Office (Reichssicherheitshauptamt; RSHA) in Berlin.[8] : xix At the end of the state of war, Schellenberg was tried past the Nuremberg War machine Tribunal, and sentenced to half dozen years' imprisonment for war crimes. He was released in 1951 owing to incurable liver affliction and took refuge in Italy. Chanel paid for Schellenberg'southward medical care and living expenses, financially supported his wife and family and paid for Schellenberg'south funeral upon his death in 1952.[viii] : 205–07

Suspicions of Coco Chanel'south interest first began when German tanks entered Paris and began the Nazi occupation. Chanel immediately sought refuge in the palatial Hotel Ritz, which was as well used as the headquarters of the High german military. It was at the Hotel Ritz where she savage in love with Baron Hans Gunther von Dincklage, working in the German embassy shut to the Gestapo. When the Nazi occupation of France began, Chanel decided to close her shop, claiming a patriotic motivation behind such decision. However, when she moved into the same Hotel Ritz that was housing the German armed services, her motivations became articulate to many. While many women in France were punished for "horizontal collaboration" with German language officers, Chanel faced no such activeness. At the time of the French liberation in 1944, Chanel left a note in her store window explaining Chanel No. v to be complimentary to all GIs. During this time, she fled to Switzerland to avoid criminal charges for her collaborations as a Nazi spy.[37] Afterward the liberation, she was known to have been interviewed in Paris by Malcolm Muggeridge, who at the time was an officer in British armed forces intelligence, well-nigh her human relationship with the Nazis during the occupation of France.[45]

Operation Modellhut [edit]

In late 2014, French intelligence agencies declassified and released documents confirming Coco Chanel's role with Germany in Earth State of war 2. Working as a spy, Chanel was directly involved in a plan for the Third Reich to have control of Madrid. Such documents identify Chanel equally an agent in the German language military intelligence, the Abwehr. Chanel visited Madrid in 1943 to convince the British ambassador to Espana, Sir Samuel Hoare, a friend of Winston Churchill, about a possible German surrender in one case the state of war was leaning towards an Allied victory. One of the almost prominent missions she was involved in was Operation Modellhut ("Operation Model Hat"). Her duty was to act as a messenger from Hitler'due south Foreign Intelligence to Churchill, to prove that some of the 3rd Reich attempted peace with the Allies.[37]

In 1943, Chanel travelled to the RSHA in Berlin—the "lion's den"—with her liaison and "old friend", the High german Embassy in Paris printing attaché Baron Hans Günther von Dincklage, a onetime Prussian Army officeholder and attorney general, who was too known as "Sparrow" among his friends and colleagues.[v] [half dozen] Dincklage was likewise a collaborator for the German language SD; his superiors existence Walter Schellenberg and Alexander Waag in Berlin.[5] [six] Chanel and Dincklage were to written report to Schellenberg at the RSHA, with a plan that Chanel had proposed to Dincklage: she, Coco Chanel, was to meet Churchill and persuade him to negotiate with the Germans.[8] : xix [v] [vi] In late 1943 or early 1944, Chanel and her SS superior, Schellenberg, who had a weakness for anarchistic schemes,[five] devised a plan to become Britain to consider a carve up peace to be negotiated by the SS. When interrogated by British intelligence at war'southward end, Schellenberg maintained that Chanel was "a person who knew Churchill sufficiently to undertake political negotiations with him".[eight] : 169 For this mission, code-named Operation Modellhut, they likewise recruited Vera Bate Lombardi. Count Joseph von Ledebur-Wicheln, a Nazi agent who defected to the British Secret Service in 1944, recalled a meeting he had with Dincklage in early 1943, in which the baron had suggested including Lombardi equally a courier. Dincklage purportedly said,

The Abwehr had first to bring to France a immature Italian woman [Lombardi] Coco Chanel was fastened to because of her lesbian vices...[viii] : 163–64

Unaware of the machinations of Schellenberg and Chanel, Lombardi was led to believe that the forthcoming journey to Kingdom of spain would be a concern trip exploring the potential for establishing Chanel couture in Madrid. Lombardi acted every bit intermediary, delivering a letter written by Chanel to Churchill, to be forwarded to him via the British Diplomatic mission in Madrid.[8] : 169–71 Schellenberg's SS liaison officer, Helm Walter Kutschmann, acted as bagman, "told to deliver a large sum of coin to Chanel in Madrid."[8] : 174 Ultimately, the mission was a failure for the Germans: British intelligence files reveal that the plan complanate after Lombardi, on arrival in Madrid, proceeded to denounce Chanel and others to the British Embassy as Nazi spies.[8] : 174–75

Protection from prosecution [edit]

In September, 1944, Chanel was interrogated by the Gratuitous French Purge Commission, the épuration. The commission had no documented evidence of her collaborative activities and was obliged to release her. According to Chanel'due south yard-niece, Gabrielle Palasse Labrunie, when Chanel returned home she said, "Churchill had me freed".[8] : 186–87

The extent of Churchill'due south intervention for Chanel after the war became a subject field of gossip and speculation. Some historians claimed that people worried that, if Chanel were forced to testify well-nigh her ain activities at trial, she would betrayal the pro-Nazi sympathies and activities of sure superlative-level British officials, members of the society aristocracy and the regal family. Vaughan writes that some claim that Churchill instructed Duff Cooper, British ambassador to the French provisional government, to protect Chanel.[8] : 187

Requested to appear in Paris before investigators in 1949, Chanel left her retreat in Switzerland to face testimony given against her at the state of war crime trial of Baron Louis de Vaufreland, a French traitor and highly placed German intelligence agent. Chanel denied all the accusations. She offered the presiding judge, Leclercq, a character reference: "I could conform for a declaration to come up from Mr. Duff Cooper."[8] : 199

Chanel's friend and biographer Marcel Haedrich said of her wartime interaction with the Nazi government:

If one took seriously the few disclosures that Mademoiselle Chanel immune herself to brand about those blackness years of the occupation, i's teeth would exist set on edge.[24] : 175

Churchill and Chanel'south friendship marks its origin in the 1920s, with the eruption of Chanel'southward scandalous showtime when falling in beloved with the Knuckles of Westminster. Churchill'south intervention at the end of the war prevented Chanel'due south penalty for spy collaborations, and ultimately salvaged her legacy.[37]

Controversy [edit]

When Vaughan's book was published in August, 2011, his disclosure of the contents of recently declassified military intelligence documents generated considerable controversy about Chanel's activities. Maison de Chanel issued a statement, portions of which were published by several media outlets. Chanel corporate "refuted the claim" (of espionage), while acknowledging that company officials had read only media excerpts of the book.[46]

The Chanel Group stated,

What is certain is that she had a relationship with a High german aristocrat during the War. Clearly it wasn't the best period to have a honey story with a German, even if Baron von Dincklage was English language by his mother and she (Chanel) knew him before the War.[47]

In an interview given to the Associated Printing, author Vaughan discussed the unexpected turn of his enquiry,

I was looking for something else and I see this document proverb 'Chanel is a Nazi agent'...And so I really started hunting through all of the archives, in the Us, in London, in Berlin and in Rome and I come across not one, simply 20, 30, 40 admittedly solid archival materials on Chanel and her lover, Hans Günther von Dincklage, who was a professional Abwehr spy.[46]

Vaughan also addressed the discomfort many felt with the revelations provided in his book:

A lot of people in this globe don't want the iconic effigy of Gabrielle Coco Chanel, one of French republic's great cultural idols, destroyed. This is definitely something that a lot of people would take preferred to put aside, to forget, to merely go on selling Chanel scarves and jewellery.[46]

Post-war life and career [edit]

In 1945, Chanel moved to Switzerland, where she lived for several years, part of the time with Dincklage. In 1953 she sold her villa La Pausa on the French Riviera to the publisher and translator Emery Reves. V rooms from La Pausa have been replicated at the Dallas Museum of Fine art, to house the Reves' art collection too equally pieces of furniture belonging to Chanel.[35]

Unlike the pre-state of war era, when women reigned as the premier couturiers, Christian Dior achieved success in 1947 with his "New Look", and a cadre of male designers achieved recognition: Dior, Cristóbal Balenciaga, Robert Piguet, and Jacques Fath. Chanel was convinced that women would ultimately rebel against the aesthetic favored by the male couturiers, what she called "casuistic" pattern: the "waist cinchers, padded bras, heavy skirts, and stiffened jackets".[11]

At more lxx years onetime, after having her couture house closed for fifteen years, she felt the time was right for her to re-enter the fashion earth.[11] : 320 The revival of her couture house in 1954 was fully financed past Chanel'southward opponent in the perfume battle, Pierre Wertheimer.[24] : 176–77 When Chanel came out with her comeback drove in 1954, the French printing were cautious due to her collaboration during the war and the controversy of the collection. Withal, the American and British press saw information technology every bit a "quantum", bringing together way and youth in a new way.[48] Bettina Ballard, the influential editor of the Usa Faddy, remained loyal to Chanel, notwithstanding, and featured the model Marie-Hélène Arnaud—the "face of Chanel" in the 1950s—in the March 1954 issue,[20] : 270 photographed by Henry Clarke, wearing three outfits: a carmine apparel with a V-neck paired with ropes of pearls; a tiered seersucker evening gown; and a navy bailiwick of jersey mid-calf suit.[49] Arnaud wore this outfit, "with its slightly padded, square shouldered cardigan jacket, 2 patch pockets and sleeves that unbuttoned dorsum to reveal crisp white cuffs", above "a white muslin blouse with a perky collar and bow [that] stayed perfectly in place with small tabs that buttoned onto the waistline of an easy A-line skirt."[22] : 151 Ballard had bought the adapt herself, which gave "an overwhelming impression of insouciant, youthful elegance",[49] and orders for the clothing that Arnaud had modelled shortly poured in from the United states of america.[twenty] : 273

Last years [edit]

According to Edmonde Charles-Roux,[xi] : 222 Chanel had become tyrannical and extremely lone late in life. In her last years she was sometimes accompanied past Jacques Chazot and her confidante Lilou Marquand. A faithful friend was besides the Brazilian Aimée de Heeren, who lived in Paris four months a year at the nearby Hôtel Meurice. The former rivals shared happy memories of times with the Duke of Westminster. They frequently strolled together through central Paris.[fifty]

Decease [edit]

Equally 1971 began, Chanel was 87 years one-time, tired, and ailing. She carried out her usual routine of preparing the spring catalogue. She had gone for a long bulldoze on the afternoon of Sabbatum, 9 January. Soon later on, feeling ill, she went to bed early.[24] : 196 She appear her final words to her maid which were: "You see, this is how you lot dice."[51]

She died on Sunday, 10 January 1971, at the Hotel Ritz, where she had resided for more than 30 years.[52]

Her funeral was held at the Église de la Madeleine; her mode models occupied the first seats during the ceremony and her coffin was covered with white flowers—camellias, gardenias, orchids, azaleas and a few ruby roses. Salvador Dalí, Serge Lifar, Jacques Chazot, Yves Saint Laurent and Marie-Hélène de Rothschild attended her funeral in the Church of the Madeleine. Her grave is in the Bois-de-Vaux Cemetery, Lausanne, Switzerland.[53] [54]

Most of her estate was inherited by her nephew André Palasse, who lived in Switzerland, and his ii daughters, who lived in Paris.[41]

Although Chanel was viewed every bit a prominent figure of luxury way during her life, Chanel'southward influence has been examined further afterward her decease in 1971. When Chanel died, the first lady of French republic, Mme Pompidou, organized a hero's tribute. Shortly, damaging documents from French intelligence agencies were released that outlined Chanel'southward wartime involvements, rapidly ending her monumental funeral plans.[37]

Legacy as designer [edit]

Chanel wearing a sailor's jersey and trousers, 1928

Equally early on as 1915, Harper's Bazaar raved over Chanel'southward designs: "The woman who hasn't at least i Chanel is hopelessly out of fashion ... This season the name Chanel is on the lips of every buyer."[8] : xiv Chanel's ascendancy was the official deathblow to the corseted female person silhouette. The frills, fuss, and constraints endured by earlier generations of women were now passé; nether her influence—gone were the "aigrettes, long hair, hobble skirts".[11] : 11 Her blueprint aesthetic redefined the stylish woman in the post World War I era. The Chanel trademark look was of youthful ease, liberated physicality, and unencumbered sportive confidence.

The horse culture and penchant for hunting then passionately pursued past the elites, especially the British, fired Chanel's imagination. Her own enthusiastic indulgence in the sporting life led to article of clothing designs informed past those activities. From her excursions on water with the yachting world, she appropriated the habiliment associated with nautical pursuits: the horizontal striped shirt, bong-bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen.[8] : 47, 79

Jersey textile [edit]

Three bailiwick of jersey outfits past Chanel, March 1917

Chanel's initial triumph was her innovative use of jersey, a motorcar knit material manufactured for her by the firm Rodier.[11] : 128, 133 Traditionally relegated to the industry of undergarments and sportswear (tennis, golf, and beach attire), jersey was considered too "ordinary" to be used in couture, and was disliked by designers considering the knit structure made it difficult to handle compared to woven fabrics. According to the Metropolitan Museum of Art, "With her financial situation precarious in the early years of her blueprint career, Chanel purchased jersey primarily for its depression cost. The qualities of the fabric, yet, ensured that the designer would keep to use it long afterwards her business organisation became profitable."[55] Chanel's early on wool jersey traveling adapt consisted of a cardigan jacket and pleated skirt, paired with a low-belted pullover pinnacle. This ensemble, worn with low-heeled shoes, became the casual look in expensive women's vesture.[eight] : 13, 47

Chanel's introduction of jersey to high-manner worked well for ii reasons: Start, the state of war had acquired a shortage of more traditional couture materials, and 2d, women began desiring simpler and more than practical clothes. Her fluid jersey suits and dresses were created with these notions in mind and immune for complimentary and easy movement. This was profoundly appreciated at the time because women were working for the war endeavour as nurses, civil servants, and in factories. Their jobs involved concrete activeness and they had to ride trains, buses, and bicycles to get to work.[56] : 57 For such circumstances, they desired outfits that did not give style easily and could be put on without the assistance of servants.[22] : 28

Slavic influence [edit]

Designers such every bit Paul Poiret and Fortuny introduced indigenous references into haute couture in the 1900s and early 1910s.[57] Chanel connected this trend with Slav-inspired designs in the early on 1920s. The beading and embroidery on her garments at this time was exclusively executed by Kitmir, an embroidery firm founded by an exiled Russian aristocrat, the G Duchess Maria Pavlovna, who was the sister of Chanel's sometime lover, Grand Knuckles Dmitri Pavlovich.[58] [59] Kitmir'southward fusion of oriental stitching with stylised folk motifs was highlighted in Chanel'south early collections.[59] One 1922 evening dress came with a matching embroidered 'babushka' headscarf.[59] In improver to the headscarf, Chanel clothing from this period featured square-neck, long belted blouses alluding to Russian muzhiks (peasant) attire known as the roubachka.[11] : 172 Evening designs were often embroidered with sparkling crystal and black jet embroidery.[8] : 25–26

Chanel suit and silk blouse with two-tone pumps, 1965

Chanel adapt [edit]

First introduced in 1923,[60] the Chanel tweed suit was designed for comfort and practicality. It consisted of a jacket and skirt in supple and calorie-free wool or mohair tweed, and a blouse and jacket lining in bailiwick of jersey or silk. Chanel did non stiffen the cloth or use shoulder pads, as was common in contemporary style. She cut the jackets on the straight grain, without adding bust darts. This allowed for quick and piece of cake movement. She designed the neckline to go out the neck comfortably free and added functional pockets. For a higher level of condolement, the skirt had a grosgrain stay around the waist, instead of a chugalug. More importantly, meticulous attention was placed on detail during fittings. Measurements were taken of a customer in a standing position with artillery folded at shoulder elevation. Chanel conducted tests with models, having them walk around, step up to a platform as if climbing stairs of an imaginary bus, and bend as if getting into a low-slung sports car. Chanel wanted to make certain women could do all of these things while wearing her adapt, without accidentally exposing parts of their trunk they wanted covered. Each client would take repeated adjustments until their suit was comfortable enough for them to perform daily activities with condolement and ease.[61]

Camellia [edit]

The camellia had an established association used in Alexandre Dumas' literary piece of work, La Dame aux Camélias (The Lady of the Camellias). Its heroine and her story had resonated for Chanel since her youth. The flower was associated with the courtesan, who would wear a camellia to advertise her availability.[62] The camellia came to exist identified with The House of Chanel; the designer first used information technology in 1933 as a decorative chemical element on a white-trimmed blackness suit.[38]

Chanel's Timeless Picayune Black Dress Modeled, 2011

Trivial blackness dress [edit]

Afterwards the jersey adapt, the concept of the picayune black apparel is oftentimes cited as a Chanel contribution to the style dictionary, a style all the same worn to this day. In 1912–1913, the actress Suzanne Orlandi was one of the first women to wear a Chanel piffling black wearing apparel, in velvet with a white collar.[63] In 1920, Chanel herself vowed that, while observing an audience at the opera, she would dress all women in black.[twenty] : 92–93

In 1926, the American edition of Vogue published an image of a Chanel little blackness dress with long sleeves, dubbing it the garçonne ('petty male child' look).[38] Vogue predicted that such a simple yet chic design would get a virtual uniform for women of taste, famously comparison its basic lines to the ubiquitous and no less widely attainable Ford automobile.[64] [65] The spare look generated widespread criticism from male journalists, who complained: "no more than bosom, no more than tummy, no more rump ... Feminine fashion of this moment in the 20th century will exist baptized lop off everything."[11] : 210 The popularity of the niggling black dress can be attributed in part to the timing of its introduction. The 1930s was the Great Depression era, when women needed affordable fashion. Chanel boasted that she had enabled the not-wealthy to "walk around similar millionaires".[66] [viii] : 47 Chanel started making little black dresses in wool or chenille for the day and in satin, crêpe or velvet for the evening.[22] : 83

Chanel proclaimed "I imposed blackness; it's still going strong today, for black wipes out everything else around."[20]

Jewellery [edit]

Chanel introduced a line of jewellery that was a conceptual innovation, every bit her designs and materials incorporated both costume jewellery and fine jewel stones. This was revolutionary in an era when jewellery was strictly categorized into either fine or costume jewellery. Her inspirations were global, often inspired by blueprint traditions of the Orient and Egypt. Wealthy clients who did non wish to display their costly jewellery in public could article of clothing Chanel creations to print others.[56] : 153

In 1933, designer Paul Iribe collaborated with Chanel in the creation of extravagant jewellery pieces commissioned past the International Guild of Diamond Merchants. The collection, executed exclusively in diamonds and platinum, was exhibited for public viewing and drew a large audition; some 3,000 attendees were recorded in a one-month menses.[38]

As an antidote for vrais bijoux en toc, the obsession with costly, fine jewels,[38] Chanel turned costume jewellery into a coveted accessory—especially when worn in grand displays, as she did. Originally inspired past the opulent jewels and pearls given to her by aristocratic lovers, Chanel raided her ain jewel vault and partnered with Knuckles Fulco di Verdura to launch a House of Chanel jewellery line. A white enameled cuff featuring a jeweled Maltese cross was Chanel's personal favourite; it has become an icon of the Verdura–Chanel collaboration.[38] The fashionable and wealthy loved the creations and made the line wildly successful. Chanel said, "It's disgusting to walk around with millions around the neck because one happens to be rich. I merely like fake jewellery ... because information technology's provocative."[viii] : 74

The Chanel handbag [edit]

In 1929, Chanel introduced a handbag inspired by soldier's numberless. Its thin shoulder strap immune the user to keep her hands gratuitous. Post-obit her improvement, Chanel updated the design in February, 1955, creating what would become the "2.55" (named for the engagement of its creation).[67] Whilst details of the classic pocketbook have been reworked, such as the 1980s update by Karl Lagerfeld when the clasp and lock were redesigned to incorporate the Chanel logo and leather was interlaced through the shoulder concatenation, the bag has retained its original basic form.[68] In 2005, the Chanel firm released an exact replica of the original 1955 bag to commemorate the 50th ceremony of its creation.[68]

The bag'south design was informed by Chanel's convent days and her dear of the sporting world. The chain used for the strap echoed the chatelaines worn past the caretakers of the orphanage where Chanel grew up, whilst the burgundy lining referenced the convent uniforms.[68] The quilted outside was influenced by the jackets worn past jockeys,[68] whilst at the aforementioned fourth dimension enhancing the purse'south shape and book.[67]

Suntans [edit]

In an outdoor environment of turf and sea, Chanel took in the sun, making suntans non only acceptable, but a symbol denoting a life of privilege and leisure. Historically, identifiable exposure to the sun had been the mark of laborers doomed to a life of unremitting, unsheltered toil. "A milky skin seemed a sure sign of aristocracy." By the mid-1920s, women could exist seen lounging on the beach without a hat to shield them from the sun'southward rays. The Chanel influence made sunday bathing fashionable.[11] : 138–39

Depictions in pop civilisation [edit]

Theatre [edit]

  • The Broadway musical Coco, with music by André Previn, book and lyrics by Alan Jay Lerner, opened eighteen December 1969 and closed iii October 1970. It is prepare in 1953–1954 at the time that Chanel was reestablishing her couture business firm. Chanel was played by Katharine Hepburn for the first eight months, and by Danielle Darrieux for the rest of its run.

Film [edit]

  • The first film about Chanel was Chanel Solitaire (1981), directed past George Kaczender and starring Marie-French republic Pisier, Timothy Dalton, and Rutger Hauer.
  • Coco Chanel (2008) was a television movie starring Shirley MacLaine as the 70-twelvemonth-former Chanel. Directed by Christian Duguay, the film too starred Barbora Bobuľová every bit the young Chanel and Olivier Sitruk as Boy Capel.
  • Coco avant Chanel (Coco Before Chanel) (2009) was a French-language biographical film directed past Anne Fontaine, starring Audrey Tautou equally the young Chanel, with Benoît Poelvoorde as Étienne Balsan and Alessandro Nivola as Boy Capel
  • Coco Chanel & Igor Stravinsky (2009) was a French-linguistic communication film directed past Jan Kounen. Anna Mouglalis played Chanel, and Mads Mikkelsen played Igor Stravinsky. The film was based on the 2002 novel Coco and Igor by Chris Greenhalgh, which concerns a purported affair betwixt Chanel and Stravinsky. It was called to close the Cannes Film Festival of 2009.[69]

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Further reading [edit]

  • Charles-Roux, Edmonde (2005). The World of Coco Chanel: Friends, Way, Fame. Thames & Hudson. ISBN978-0-500-51216-six.
  • Davis, Mary (December 2006). "Chanel, Stravinsky, and Musical Chichi". Fashion Theory. 10 (4): 431–60. doi:x.2752/136270406778664986. S2CID 194197301.
  • Fiemeyer, Isabelle (2011). Intimate Chanel. Flammarion. ISBN978-2-080-30162-eight.
  • Madsen, Axel (2009). Coco Chanel: A Biography. Bloomsbury Publishing PLC. ISBN978-1408805817.
  • Morand, Paul (2009). The Attraction of Chanel. Pushkin Printing. ISBN978-1-901285-98-7.
  • Simon, Linda (2011). Coco Chanel. Reaktion Books. ISBN978-1-86189-859-3. (Reviewed in The Montreal Review)
  • Smith, Nancy (2017). Churchill on the Riviera: Winston Churchill, Wendy Reves, and the Villa La Pausa Congenital past Coco Chanel. Biblio Publishing. ISBN978-1622493661.

External links [edit]

  • Official Site of Chanel
  • Coco Chanel at IMDb
  • Gabrielle Chanel at FMD
  • Coco Chanel in the Art Deco Era
  • Lisa Chaney on Coco Chanel on YouTube
  • Coco Chanel 1969 interview on YouTube
  • Interactive timeline of couture houses and couturier biographies Victoria and Albert Museum
  • Coco Chanel at Find a Grave

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