Lisa Chaney - Coco Chanel - An Intimate Life

Meanwhile, in order to achieve real success in the fiercely competitive Parisian millinery trade, Gabrielle was going to need all her doggedness and determination. As she labored, and slowly began to comprehend some of the essentials of running a business, her work began to satisfy her and feed her pride. The actresses and courtesans whom she knew from Royallieu had sometimes brought others to take a look at Gabrielle’s hats at Etienne Balsan’s garçonnière on the boulevard Malesherbes. The demimonde and the stage had been curious to take a look at Etienne’s mistress at work, but now that she lived with Arthur Capel, overcoming their prejudices, some of the more daring young society women, who were dressed by the great couturiers of the day, began to drop in too.

Whatever has been written about Gabrielle’s meteoric rise to fame, in fact, she neither took Paris by storm once launched nor was she a born socialite only waiting to be scooped up and “brought out” by someone sympathetic to her, such as Arthur Capel. Notwithstanding Gabrielle’s precociously advanced character, she did not possess a precocious ability for self-expression, nor was she quick to develop her innate abilities. Indeed, the period in which she learned how to become a designer, a businesswoman and the person she wanted to be had a lengthy gestation. While her life at Royallieu had been her first major step, the time Gabrielle spent working in boulevard Malesherbes and her move to live with Arthur Capel were two of the crucial periods in which she was, effectively, serving her apprenticeship. Through Etienne Balsan and his friends at Royallieu, and then Arthur Capel and his connections, she was growing beyond the limitations of her background and assimilating much about the art of self-presentation. In keeping with the most renowned courtesans, however, Gabrielle would travel beyond these ideas and experiment with the more complex art of reinvention.

But while this young milliner was never short of ideas, as business grew, her ignorance of technique was beginning to hold her back, and when told by Etienne of someone who might help, she quickly made an approach. Young Lucienne Rabaté was a rising star who worked for one of Paris’s most prestigious milliners, Maison Lewis. Seduced by the liveliness of the little Chanel salon, Lucienne brought with her two more of the Maison Lewis’s best assistants. 19Gabrielle’s designs, her assistants’ skill, and their word-of-mouth promotion meant that business continued gaining pace.

Gabrielle had remained close to her aunt Adrienne, who was still living quietly in Vichy with her lover, the Baron de Nexon. Adrienne was inclusive and generous spirited in her concerns for her family, and she now suggested the employment of Gabrielle’s younger sister Antoinette to receive customers and look after the salon.

Antoinette had been first at Aubazine, then followed Julia-Berthe and Gabrielle to the convent at Moulins, and was now emulating her sister in trying her hand as a singer in Vichy. She was pretty and vivacious but had no voice, and like Gabrielle before her, was failing to find any work. As a result, Adrienne was supporting her. With some of her sister Gabrielle’s boldness, and a genuine charm, Antoinette became a decorative ambassador for Chanel Modes. With nothing like Gabrielle’s intelligence or initiative, however, she was biddable and worked hard. Meanwhile, Gabrielle’s salon had begun to outgrow its cramped quarters on the boulevard Malesherbes, and she turned to her lover for assistance. Would Arthur give her the finances to expand?

Arthur was businessman enough to recognize his mistress’s intelligence and energy, and although she wasn’t making great sums of money, he believed she had potential. As the entrepreneur in him thrived on risk, he agreed to fund the opening of Gabrielle’s own shop. In this way, at the beginning of 1911, she took on the leasehold of some first-floor rooms on the rue Cambon, just off the fashionable rue de Rivoli.

The perceptive and witty diarist Elisabeth de Gramont, Duchesse de Clermont-Tonnerre, shines some light on the situation while also giving the impression that Gabrielle was at a loose end and without many ideas. Elisabeth de Gramont recalled an evening at her half brother Armand de Gramont’s house. Arthur was also present, and he and Elisabeth fell into conversation on the subject of his mistress, Gabrielle. He said, “I am very attached to Coco and I am looking for an occupation for her.” Perhaps Arthur wished, here, to boost his own importance when implying that she didn’t already have something to do:

I am a very busy man and I am not free in the afternoon; she is on her own, she gets bored, and this irritates me… Idleness can hang heavily on some women, especially when they are intelligent, and Coco is intelligent. You’ve got family, relatives, social obligations… She’s got nothing; when she’s through with polishing her nails, the time between two and eight is void… We don’t always realize how important schedules are in people’s emotional lives; we always speak of the heart, it is not that difficult to attune two hearts, but to synchronize two watches is a problem. I set her up in a little millinery shop, but it hasn’t worked very well. However, she’s energetic, she has the qualities of a businesswoman, and she is from Auvergne [meaning that she was determined and hardworking]… she would like to open a shop that sells knitwear and jerseys. Well, we will see. 20

With a dressmaker already working at 21 rue Cambon, the law forbade Gabrielle to do the same thing. (Manufacturing knitwear and jerseys would get around this prohibition because they were not counted as dresses.) It is said that Gabrielle merely chanced upon this site, but our little milliner had in fact chosen it with great care, fully aware of its prime position. It was at the heart of that quarter encompassing the rue de la Paix, rue Royale, rue Saint-Honoré and the streets leading off and around the magnificent place Vendôme. For many years, this Parisian district had been the one where the most costly silks, jewels, furs, hats, perfumes and fashions were to be found.

As a collective visual statement, fashion is about the appearance of the individual and of the group. It is at once about self-presentation and conformity. Like music, it is improvisation within a structure. As the human condition doesn’t appear to respond well to too much repetition, fashion could be described as one of our antidotes to boredom. It must be new, but not too new; novel rather than radically different. A kind of planned spontaneity, it is applied art, making use of potentiality. Clothes can change more rapidly than other artifacts; although they are functional, they are statements too. Fashion could be described as the cultural genome of clothes.

Writing on fashion appears almost universally to accept the idea that fashion follows power. At the courts of rulers and kings, this was undoubtedly the case. By the seventeenth century, Louis XIV of France had understood perfectly the connection between fashion and power. His dramatic self-presentation was about manipulating clothes as actual and symbolic reflections of the greatest power — in other words, his own. But the idea that fashion always follows power is far too simplistic and is only an approximation of what actually happens. In Gabrielle Chanel’s case, the story is more complex and interesting than that.

Over time, the most fashionable rendezvous in Paris had been exclusive or semiprivate. As the nineteenth century wore on, however, its sweeping changes were reflected in the fact that one of the most significant and fashionable places to be “seen” was now on the city’s new boulevards — in public, on the streets. Here the populace “treated life as a spectacle… and intensely enjoyed their own and everyone else’s performance.” 1