by Lisa Chaney
A fine classical marble torso was reflected in a mantelpiece mirror, both bought on that recent trip to Italy with the Serts, and now also in the rue Cambon. In Gabrielle’s bedroom were floor-to-ceiling mirror panels covering one wall, while her bed was spread with a dark fur coverlet enclosed by cream silk curtains falling from a wooden baldachin. Coromandel screens stood behind another velvet-covered sofa, and a huge crystal chandelier hung above a small silver table. Hanging on the mirror wall panels was an enormous Venetian mirror decorated all around the edge with crystal flowers. This astounding piece of craftsmanship, today in Gabrielle’s apartment, was bought from the sale of the recently bankrupt and legendarily stylish narcissist the marchesa Luisa Casati. That Gabrielle would keep several of these outstanding pieces of furniture confirms one’s sense that the grammar of her decorative style was already well established.
Gabrielle loved gold, and the colors beige and black. Like Misia, she also loved crystal. However, as for Misia’s own taste, Gabrielle later described her apartment before her marriage to Sert as “all that pile of objects.” Misia’s very busy interior had at first led Gabrielle and Arthur to the conclusion that Misia must be an antique dealer. And Arthur had unashamedly asked, “Is it all for sale?” Gabrielle loathed what she called “the doctrine of clutter.” Speaking of Misia’s, she said, “It wends its way along walls, piles up underneath tables, proliferates on the stairs, the cupboards no longer shut.”1 Nevertheless, Paul Morand, a man of most particular and snobbish tastes, described Misia’s apartment’s “crystal, its lacquer, its general air of exquisite rococo,” without criticism. No doubt Gabrielle did owe something to Misia and Sert’s aesthetic, but she now practiced a doctrine of luxury, size and space whose elements were her own.
Into the magnificent setting of the Faubourg Saint-Honoré she transported Joseph Leclerc, now chamberlain of a bevy of servants looking after his mistress and her steady stream of visitors. By day, Gabrielle perfected and sold the clothes that were making her so quintessentially modern, and by night, she was establishing herself as a sought-after Parisian figure. Preferring, on the whole, the company of artists, it was in this period that she became close to Jean Cocteau. If Cocteau’s following, or “school,” is hard to define, while both loved and reviled, he had, nonetheless, positioned himself as a spokesman for modernist art. His famous personal charm and dazzling conversation were evanescent but almost impossible to replicate, and even Cocteau haters thought “his life was his masterpiece” and that “his talk was the best part of him.” For his detractors, he was full of gimmickry, artifice and vacuity. He, meanwhile, said, “A poet owes it to himself to be a very serious man, and yet, out of politeness, to appear the opposite.”2 For more than fifty years, Gabrielle would oscillate between love and dislike of Cocteau.
After the recent war, artists had continued arguing back and forth: what should their subject now be, and how should it be presented? A savage, nihilistic atmosphere, emerging from the brutalities of the war, meant that many artistic and cultural values were now unceremoniously hurled out, until the artists arrived at the anarchy of Dada. One of its founders, Gabrielle’s friend Tristan Tzara, said that Dada meant nothing and this was the point: nothing. Dada was to be “an inventory of the ruins of art and society left by the void of war.” While Gabrielle was in one sense party to these sentiments, she was also more interested in asking herself what she could do to move with her chaotic times. And at the center of events, she made her own definitive contribution. She lived an unusually progressive and unbourgeois life, her independence and sexually liberated attitudes reflected in Gabrielle’s short hair and ruthlessly simple clothes.
At the Faubourg Saint-Honoré, she threw herself into what became the most expansively sociable period of her life, and one of her first undertakings was to have a fine piano brought in and placed in an otherwise empty room. Seldom relinquishing the luxury of friendship with a former lover, Gabrielle was by this stage once again on close terms with Stravinsky. And Stravinsky now came to the Faubourg Saint-Honoré along with society and artists. These included Diaghilev, his lovers, Ballets Russes dancers, Misia and José Maria Sert, Erik Satie, and a series of other performers and composers, including Les Six, who in turn included Georges Auric, Darius Milhaud and Francis Poulenc. The musicians played and partied with Gabrielle’s society and artist friends, including the likes of Georges Braque, Amedeo Modigliani, Juan Gris and Francis Picabia, long into the night.
On the upper floor, meanwhile, Comte Pillet-Will found the clamor of their contemporary music unendurable, and he and his tenant came to an amicable accommodation. She would pay handsomely for the rest of his vast residence, and the count would take himself elsewhere.
Jean Cocteau’s offering for that year, 1921, was Les Mariés de la Tour Eiffel, a parody of a Parisian wedding, again with the anarchic high spirits of his ballet Parade. Olga Picasso had insisted that she and her husband take a villa outside Paris for the first months of their baby son’s life. Picasso was now invited to join Misia’s box as Gabrielle’s escort for the ballet’s premiere. Picasso was always in two minds about Cocteau, whom he infuriated by teasing him. But he and Gabrielle enjoyed Cocteau’s verbal sparkle, his spiteful tongue and his urgent and shamelessly insincere need of the friendship of the haut monde. Had Picasso and Gabrielle seen Cocteau’s diary, they would have reveled in his remark about “the actresses without theater that are society women.”3
By this point, Gabrielle had known Picasso for some time. Indeed, she was one of the small group of guests at his wedding in 1918, when Olga wore a Chanel dress and Cocteau had written, “Olga in white satin, tricot and ulle — very Biarritz.”4 When Picasso became claustrophobic in his villa and came into town in search of his friends, he wouldn’t stay alone at night in his and Olga’s apartment. He was apparently terrified by the prospect of loneliness. So Gabrielle had one of her light, airy rooms at the Faubourg Saint-Honoré made permanently available to him. She saw a good deal of Picasso at this time and was, in her own words,
… seized by a passion for [him]. He was wicked. He fascinated me the way a hawk would; he filled me with a fear. I could feel it when he came in: something would curl up in me; he’d arrived. I couldn’t see him yet, but already I knew he was in the room. And then I saw him. He had a way of looking at me… I trembled. 5
Misia had observed this attraction between her two friends, and did her best to foil any real intimacy developing between them. But any control she might previously have exerted over Gabrielle had evaporated when Gabrielle wrote the check for Diaghilev’s presentation of Rite of Spring. Characteristically, Gabrielle was not particularly concerned by the idea of Picasso’s wife in the background, and saw Picasso at his apartment on the rue de la Boétie. Developing her “passion,” they spent the odd night — perhaps more — together at the Faubourg Saint-Honoré. But with Picasso always quick to demand sexual and emotional subservience from his women, and Gabrielle being in many ways just as intense and formidable a character as he was, this affair could have been only a brief one.
In 1921, when Vogue commented that “the couturiers are still embroidering their way to success,” Dmitri Pavlovich’s sister, Grand Duchess Marie Pavlovna, took advantage of the trend. Marie Pavlovna was short of funds — like all the Russian émigrés — and on the spur of the moment suggested to Gabrielle that she could make the embroidery for her clothes at a better price. Gabrielle was surprised at the suggestion but agreed that Marie should try. Despite Marie’s personal hardship and losses, her attempts at adapting to her fate were impressive. Describing the Russian nobility’s plight, she said they had been “torn out of our brilliant setting… still dressed in our fantastic costumes. We had to take them off… make ourselves other, everyday clothes, and above all learn how to wear them.”
In only three months, Marie Pavlovna had set up what became a highly successful wholesale workshop, Kitmir, with Russian women machine-embroidering clothes for couture houses and, in particu
lar, the House of Chanel. Marie designed many of the embroideries herself, basing them on her memories from art school, a number of Russian motifs and new research.
It has been customary to say that Gabrielle began embroidering her clothing under the influence of her Russian lover, Grand Duke Dmitri Pavlovich. This is quite wrong. Gabrielle had come under the influence of the Russians — Diaghilev, the Ballets Russes and Stravinsky — before her affair with Dmitri; she had been decorating her clothes with embroidery since at least 1917. In addition, from contemporary descriptions, we see that it wasn’t only Gabrielle who used embroidery to decorate her clothing; so were some of her fellow couturiers.
While Marie Pavlovna marveled at seeing her embroideries worn by Gabrielle’s clients, sadly, there are very few examples of them still around. What is left to us from Marie, however, is one of the very best descriptions of Gabrielle at work. As Marie evokes the scene, we see how Gabrielle’s method of creating, first described by Marie-Louise Delay, in Biarritz, has remained quite unchanged. Gabrielle’s cutting, pinning and sculpting of a material on a real woman’s body would become famous — much later, in an age of male couturiers, designing by making drawings alone — for its singularity. In fact, this had been the traditional dressmakers’ accustomed method of working.
After Gabrielle had draped her mannequin with a fabric, in order to see its fall and movement, she would then work in another material, such as a fine calico, until she was satisfied with her design on the girl’s body. From this first model, called a toile, the real material would be cut out by the premières and made into the final garment. In Marie Pavlovna’s description, we see how a real and beautiful female body was and would always remain an essential part of Gabrielle’s inspiration. The girl’s shape and coloring were all part of the inspiration for her transformation of a piece of material into something that could be worn. (She insisted that her mannequins be very slim, and almost all were dark haired, like her.) Marie Pavlovna described her fascination with the way her embroidered materials were transformed into clothes:
For several years to come I watched Chanel’s creative genius… She never designed anything on paper and would make a dress either according to an idea already in her head or as she proceeded. I can still see her sitting on her stool… with a log fire burning… she would be dressed in a… dark skirt and a sweater, with the sleeves pushed up above her elbows…
The models would be called in one by one from the landing outside… sometimes for hours in various stages of undress… A girl would walk into the room and up to Mlle Chanel, who sat… with a pair of scissors in her hand.
“Bonjour Mademoiselle.”
“Bonjour Jeanne.”
This was the only moment when Chanel would look up at the model’s face… As the girl approached, Chanel, with her head slightly bent to one side, would take in the first impression. Then the fitting began… The fitter standing beside her handed her the pins. No one spoke except Chanel, who kept up a steady monologue. Sometimes she would be giving instructions, or explaining some detail. Sometimes she would criticize and undo the work… already done. The old fitter listened to all, in silence, her face impenetrable… Chanel, intent on her work… talked on without taking notice of anybody.
I had seen people occupying great offices… had listened to orders being given by those whose birth or position gave them the right to command. I had never yet met with a person whose every word was obeyed and whose authority had been established by her own self, out of nothing.6
At about five o’clock, coffee was brought in, sometimes with sandwiches. If the day’s work was complete, Gabrielle stood up, stretched, and the models, condemned to wait outside, were finally permitted to leave. If the pressure was on, Gabrielle gulped down her coffee then took up her work once more. One or two “obsequious executives and an occasional friend sat around on the carpet” while Gabrielle held forth indefatigably. “Discussing everything and everybody with immense assurance, she dispensed strong opinions on people and events; these opinions could just as quickly be reversed. Forging on, her power of persuasion was amazing.”
Maurice Sachs, an ambitious young con man who sometimes acted as Cocteau’s secretary got himself small writing commissions and, later in the decade, became an astute chronicler of his times. In his portrait of Gabrielle, he said that she “created a feminine personage that Paris had not known before.” He was surprised at “how small she was. She was very slim; the line of thick black hair was low, her eyebrows met over the nose and when she laughed her eyes [were] hard and sparkling.” Commenting that she “almost always’ wore simple black clothes, he said:
She put her hands in her pockets [then still an unusual thing for a woman to do] and began to speak. The flow of her words was extraordinarily fast, rushing forward, but she laid out clearly what she had in mind. She had none of the circumlocution, and fabricated asides that so often make a woman halt at incidental subjects and never reach the target of their conversation. Her train of thought was utterly clear… She had great practical sense; she liked to manage, to organize, to put in order and to be in charge.7
Gabrielle had a redeeming contradictory trait, and one particularly rare in people who are controlling. An old employee would say that “she hated things which were planned. She didn’t have this notion of organization like we do.” And Jean Cocteau once said, “She has, by a kind of miracle, worked in fashion according to rules that would seem to have value only for artists.”8
At the same time, Sachs believed that in giving her orders with such certainty and authority, Gabrielle “was a general: one of those young generals of the Empire in whom the spirit of conquest dominates.” Gabrielle shared another trait with military men: “a shyness which overcame her as soon as she left the battlefield.”9
As each of the biannual collections approached, the atmosphere at Chanel heightened and Gabrielle grew more nervous. As for many an artist working under pressure, these tense conditions were what often provoked her most successful pieces. Marie Pavlovna was repeatedly amazed at how the chaos in the days prior to a show was miraculously transformed into a collection just in the nick of time. On the eve of a show at rue Cambon, Gabrielle had a “dress rehearsal” for herself and her personnel in the salon below her studio. Anything considered unfit was “banished altogether” or else sent back, somehow to be redone before the morrow. Marie was intrigued by the “language of the dresses,” how their different characteristics and appeal were so familiar to Gabrielle, and how it was this unified set of relationships she was most concerned with at this final stage. “Not one single detail escaped her notice. She was so concentrated upon the study that… she forgot even to talk.”
And all the while a “religious and respectful silence hung over the salon, around which the saleswomen sat in a row along the walls,” nodding, and no more than lifting their eyebrows by way of approval. Gabrielle’s fashion shows were becoming extremely popular, and each season the rue Cambon entrance was besieged by a crowd of indignant buyers. Only those with invitations were admitted. The largest important foreign houses, above all those from the United States, were invited first, and only then did smaller and native firms receive an invitation. This very exclusiveness, of course, made them clamor still more for admittance. In future years, the detachment of police posted to guard the front door of Chanel at rue Cambon was an imposing sight.
When Marie Pavlovna’s embroideries were first shown — probably in the spring of 1922—she joined Gabrielle and a group of her friends in what were the most uncomfortable yet most privileged “seats… on the upper steps of the staircase, from where we could see what was going on.” (The mirror-paneled walls of this staircase were part of a modernist refurbishment Gabrielle would have installed at some point during the early twenties.) Until the end of her life, this ritual spot was where she placed herself to survey her collection below.
This now-famous staircase has remained intact. The salon below, while updated, is decorated in the
same color scheme to this day: carpeted in beige with white walls and the distinctive black cast-iron banisters. Gabrielle commented once, “I spent my life on stairs.” The mirrored staircase was the spine of her house; everything that happened at rue Cambon could be observed from it. But Gabrielle was also making oblique reference to that other staircase, central to her youth in the convent at Aubazine. Here the orphan girls trudged up and down the great stone steps several times each day.
The show including Marie Pavlovna’s embroideries lasted a full three hours — this was not untypical — but from Gabrielle’s aerie at the top of the stairs, Marie was amazed at the speed with which she had absorbed and gauged the audience’s interest. Long before the concluding piece, Gabrielle told the dazed young Russian duchess that her work was a success.
The biggest orders for these embroideries — indeed, all Chanel clothes — came from America, a tendency that would become the norm. It was the sophisticated yet pervasively casual and sportive element of American society that had appreciated Gabrielle’s “language” as quickly as France, and possibly more so.
Marie learned much from Gabrielle, not least the example of her worldliness. While, at first, the young aristocrat found the way clients were referred to “behind the scenes” quite shocking, she eventually came to the conclusion that, in fact, “any noble sentiments were wasted” on the customers of haute couture: “Mlle Chanel did much to give me more practical views on life. A number of my illusions were destroyed in the process.”
Gabrielle, with her “usual outspokenness,” also steered Dmitri’s sister away from the puritanical belief that taking trouble with one’s appearance was unseemly. She told Marie that it was “a great mistake to go round looking like a refugee… people will end by avoiding you. If you wish to do business, the first thing is to look prosperous.”
