by Lisa Chaney
The battle for France had lasted no more than six weeks, concluding in a total military defeat. Pétain had signed an armistice with Germany, and half of the country, including Paris, was occupied by thousands of German troops. Unprompted by Germany, Pétain’s Vichy government now threw out democratic institutions and set about persecuting what it saw as the three most unwanted social elements: Freemasons, Jews and communists. From the outset, Vichy also had a policy of collaboration with Germany. By the end of the war, 650,000 civilian French workers had been put to work in German factories; another 60,000 had been deported to German concentration camps; 30,000 French civilians were shot as hostages or members of the Resistance and aside from about 4,000 Jews who died in French camps, almost 80,000 others would be sent from there to die in Auschwitz.5
The late Charles Péguy, taken up as a hero by both the resisters opposed to Vichy’s anti-Semitic laws and also by Vichy itself, had written: “In wartime he who does not surrender is my man, whoever he is, wherever he comes from, and whatever his party… And he who surrenders is my enemy.”6 That opposing sides were able to take this same man as one of their heroes is representative of the complexity of French reactions to the occupation. It reveals the extent to which “antagonists might share as many assumptions with their enemies as with those on their own side.” Since the sixties, it has been shown that de Gaulle’s “heroic reinterpretation of the Dark Years… in which most of the horrors inflicted on France had been the work of the Germans alone… and in which de Gaulle and the Resistance had incarnated the real France” was a gross exaggeration. De Gaulle’s propaganda, that the mass of French people, apart from a handful of traitors, was solidly behind him and the Resistance, was constructed in the belief that this was the way to get his countrymen back on their feet.
However, in the sixties, when the French came to challenge de Gaulle’s heroic version of their past, and when they were increasingly reminded that millions had revered Pétain, they also saw that the laws of Vichy France were representative of much of France. And the country largely faced the fact that it was Vichy that had discriminated against Jews and Freemasons, that it was French policemen, not Germans, who arrested the Jews and communists and sent them to concentration camps. The Resistance was a very small minority, and most people had been attentistes—those who would wait and see. A gradual redressing of the balance in France has meant that this attitude is no longer hidden. It is overwhelmingly recognized that the history of the occupation should not be written in black and white, but in many shades of gray. This has much bearing on our understanding of how Gabrielle was to spend a good part of the war.
The prestige of intellectuals in France meant that the war invested their actions with particular significance. Although a good number fled to the unoccupied south, for many, the surest — almost the only — means to avoid compromising oneself was to go abroad into exile. A large number of artists and intellectuals were helped to do this early on, by the French and by a number of foreigners. One of the most significant groups was the hastily organized American Emergency Rescue Committee. Most of the escapees — many of them known to Gabrielle, and a good number of them her friends — went toto America. The artists included Salvador Dalí, Max Ernst, André Breton and Jacques Lipchitz, Man Ray and Fernand Léger. Among the film directors were René Clair and Jean Renoir. The many writers who left included André Masson, the Catholic philosopher Jacques Maritain, and Antoine de Saint-Exupéry.
After legal or forged visas had been found for them, some sailed from Marseille; others were smuggled over the Spanish border. A few, such as the Russian émigré painter Marc Chagall, were slow to realize that they, too, must escape. The benign-tempered Chagall had gullibly believed his French citizenship would protect him from anti-Semitism, and left France only having been reassured that there were cows in America. Marcel Duchamp sailed for New York in 1942. Those who left France behind were often vilified for deserting their country “in her greatest hour of need.” The artists were, of course, a minute fraction of the population, and for a time, many of those who remained saw Marshal Pétain as their best hope. Wanting a return to some kind of stability, they could convince themselves that returning to work was not only necessary so as not to starve, it was also their duty. This fitted perfectly with German strategy for a compliant France.
Otto Abetz, the German ambassador, was a protégé of the German foreign minister, Joachim von Ribbentrop. Although both were great Francophiles, their underlying motivation was sinister. Abetz admired French culture and its food and wine. He had a French wife, too. He also believed that the French should know their place.
The plan he had presented to Hitler entailed France becoming a “satellite state,” obliged to accept its “permanent weakness.” To bring this about involved playing on the country’s internal rivalries and hopes of an entente with Germany. Knowing that an attitude of confrontation would unite the French against Germany, Abetz was in concordance with his instructions from Hitler: “Everything must be done to encourage internal divisions and thus the weakness of France.” Nonetheless, Abetz’s was always a careful approach, with a good deal of effort placed on propaganda, while the Propaganda-Abteilung and the embassy permanently vied for control. The Propaganda-Abteilung had a staff of 1,200 and controlled the press, radio, literature, propaganda, cinema and culture, including theater, art and music. The objective was to promote German influence, to undermine and erase the dominance of French culture in Europe, and to promote collaboration. Abetz believed his seductive approach was superior to the Propaganda-Abteilung’s more heavy-handed one, which involved assassination and reprisal. In 1942, Abetz won this battle, and his German Institute became a center of cultural collaboration, with exhibitions, lectures, popular German-language classes, and concerts promoting the most distinguished German musicians.7
From the outset, Abetz was courteous, encouraging a return to “normality” as quickly as was possible following the occupation. The remarkable Jacques Copeau, whose career had been devoted to challenging the stuffiness of bourgeois boulevard theater, became the director of the Comédie Française, the national theater, while Gabrielle’s friend the Ballets Russes dancer Serge Lifar became the Vichy-appointed director of the Paris Opéra Ballet. Ever-sinuous and insinuating, Lifar wasn’t too concerned by having to ingratiate himself with his Nazi masters. He toured in Germany, and notoriously paraded the claim that Hitler had “handled” him on his visit to the Opéra. Hitler admired the place so much he apparently knew its floor plan by heart.
The Free French in London got wind of Lifar’s bragging and, broadcasting via the BBC, had soon condemned him to death. Gabrielle’s sometime friend Comte Etienne de Beaumont, as unperturbed by the Nazi presence as Lifar, had desperately wanted his post, but his attempts at ingratiation had been to no avail. Maurice Sachs, who had swindled Gabrielle over her library, was one of those who turned the war into an escapade in the transgression of every moral code. He also managed successfully to hide his Jewishness. After the occupation, he lived for a while with a German officer, began playing the black market, and also spent a period in a homosexual brothel. In early 1942, he went to Germany, where he became a crane operator, and was delighted when the Gestapo discovered how skillful he was at informing. His death by lynching, when the Allies occupied Germany, is supposed to have taken place at the hands of his fellow prisoners.
Under the watchful eye of Abetz’s propaganda staff, cinemas and theaters in the occupied zone were reopened. The making of new films was encouraged, and newspapers and publishers were permitted to recommence printing. The attitude of their masters was, at the same time, repressive regarding anything “decadent,” anti-German or pro-Jewish. Not long after the armistice, when the Pétain government in the south began to put anti-Semitic prohibitions into practice, most of the intellectual Right across the country, and some of the Left, had already joined in spirit this aspect of repression.
France was by no means unique in its anti-Semi
tism. Many Europeans, including Great Britain, were mildly anti-Semitic, some were more so than others. The more extreme in France wanted a fascist France allied with Germany, to build a cleansed Europe. Otto Abetz was assigned the project of “safeguarding” all objects of art: public, private and, especially, Jewish owned. Abetz embarked on the job with enthusiasm. Many works of art were taken from their owners and stored in the Parisian Jeu de Paume museum, while much else was hauled off to Germany. The worst perpetrator of this theft was Goering, who “pillaged on a heroic scale.” If there hadn’t been so much internecine warfare between the different German departments, a great deal more art would undoubtedly have left the country. Despite the plundering, some works were regarded as just too decadent, and in 1943, a pyre was secretly lit at the Jeu de Paume on which were burned works by artists such as Picasso, Joan Miró and Max Ernst. Picasso, meanwhile, was selling work to those German officers who, secretly, recognized his gifts.
With occupation, there was an understandable wish for escapism, and although France was really a huge prison, with a captive audience like never before, for those in the arts prepared to “collaborate” enough to have their work put on, this period proved to be strangely fertile. While the occupation has often defied description by those who experienced it, it has also caused utter bafflement in those who did not. One thing, though, is clear: it was virtually impossible not to collaborate with the conquerors if one was to work at one’s profession. Almost all activity required a license, and none were issued without strict German approval. If licenses were not sought, this meant refusal for the publication of books, the production of plays, the showing of films and exhibitions and the performing of any concerts. The extremely courageous artists who gave up working under these conditions were very few in number. Any signs of anti-German sentiment were forbidden, and any Jewish artistic presence whatsoever was eliminated.8
The apparently relaxed cultural policy of the conquerors emerged from the principle that cultural distractions would keep the population unaware and contented. Meanwhile, the real attitude of the Germans toward French culture was a divided one, involving jealousy and contempt. There was jealousy of the preeminence of French culture in Europe combined with contempt for its perceived artistic decadence. German Francophilia was, then, double sided: admiration coexisting with an attitude of superiority. And those very French attributes that made the country so attractive — the refinement and douceur de vivre, the pleasure of civilized living — were also what condemned her to the second rank in the eyes of her invaders. However, a good number of intellectuals and artists were so relieved at the urbanity and admiration shown by some of their masters they failed to observe what actually lay beneath. Serge Lifar and Jean Cocteau, who continued working, like many artists before and after them, were staggeringly politically naive. What we are to make of the record of Gabrielle’s war years, however, remains to be seen.
Late in that summer of 1940, when Gabrielle had been reinstated at the Ritz, having accepted the one small room offered her, she sent all her best furniture back to her apartment above the salon on rue Cambon. And whatever her private thoughts about the occupation, there were two immediate tasks Gabrielle was now obliged to fulfill. One was a task she wished to perform; the other was an onerous one she was forced into.
When she had closed her couture house, her workers had been left without work or compensation. After the armistice, when the German propaganda campaign was intent on having it appear that France was getting back on its feet, educational establishments, businesses, the law courts, et cetera, were reopened. And at this point, Gabrielle’s rejected workforce succeeded in taking her to an industrial tribunal. Under the excuse of “act of war” or “emergency action,” Gabrielle had dismissed them without any notice or compensation. The court rejected this plea, and she was obliged to pay her employees the wages they were due.
Gabrielle’s second duty was to find her nephew. That September of 1940, when the Germans began releasing most of the three hundred thousand pre-armistice prisoners, her imprisoned nephew, André, was not among them. Preoccupied about his delicate health, his aunt was determined to bring about his release. A young aristocrat of her acquaintance, Louis de Vaufreland, told her he knew a German who might be able to help her. This gentleman was named Hans Günther, Baron von Dincklage. He spoke fluent French and English (his mother was English) and was the archetypal Aryan. Tall, blond, blue-eyed von Dincklage was the embodiment of entertaining charm. He suggested that the person Gabrielle needed was an old friend of his, a cavalry captain, Theodor Momm.9
Momm’s family was in textiles, and he had been deputed to mobilize the French textile industries, with a view to siphoning off the profits for the German war effort. Gabrielle’s persuasion was effective, and Momm reopened a small textile mill in the north of France. He then convinced his superiors that the owner was the famous Chanel, and that her nephew was the person needed to run the reinstated mill. Gabrielle was hugely relieved when André was at last released.
By this time, Gabrielle and von Dincklage had had cause to meet on a number of occasions. Gabrielle found the German’s charm and well-bred attentiveness throughout these proceedings most seductive. If she may have experienced any initial doubts about associating herself with the enemy, they were put aside, and she and von Dincklage became lovers. This affair was to endure for several years.
Gabrielle was careful to appear discreet, confining herself a good deal to her apartment on rue Cambon, her room at the Ritz and visits to an inner circle of friends, including the Serts, Serge Lifar, Jean Cocteau, Antoinette d’Harcourt and Marie-Louise Bousquet. Aside from that, there was her handsome lover. In an occupied city, where it was soon impossible not to take sides, Gabrielle appears to have convinced herself that she could have an affair with a German and live immured. For someone of her intelligence, she cannot possibly have believed that such catastrophic events in her own country and beyond didn’t concern her.
But Gabrielle’s attitude didn’t have much to do with intelligence; it was something more elemental than that. She had learned young to put self-preservation before most other things, and one of her clearest intentions throughout the war was just that: survival. As someone recently observed who was acquainted with her then, when he was a boy: “I don’t think it was a question of politics. [She] wanted to serve her own interests and maintain her lifestyle.”10 While this may have been ignoble, there were many who felt the same. Gabrielle and most of her friends were reluctant to ask too many questions about the oppression by their conquerors.
It has often been said that while Gabrielle was very wealthy, if ever the health of her business was in doubt, like many another who had started out poor, she reacted with an irrational fear of returning to that state. And perhaps to salve the guilt she must have had for pleading poverty and cutting off her brothers, she took up various public charitable activities, such as the patronage of Jean Marais’s regiment in the first months of war. Gabrielle had time on her hands and threw herself into the project, looking after every last detail. Other examples of Gabrielle’s charity were kept strictly private. For example, large sums were donated to a mental home in which the ex-courtesan Liane de Pougy was involved.11 In her later years, she contacted the solicitor at Aubazine and made a secret donation to the convent. (It is also said that over the years, she made occasional very discreet trips to the convent to visit the nuns.)12
Returning to Gabrielle’s liaison with her German, one explanation for her actions was that her repeated losses in love had hardened her. Indeed, Cocteau would say that Gabrielle was “a pederast,” that her sexual appetites were virile and that she set out to conquer like a man. This attitude, while serving Gabrielle’s sexual needs, did little to ground her emotions. But while she was not without blame in failed loves, Gabrielle had lost love so many times already that she had little faith in the possibility of its enduring.
There was no question that had Arthur Capel asked her, all those years
ago, Gabrielle would have married him. Quite possibly, in the end, this marriage would have foundered. While always believing in preserving the differences between men and women, Gabrielle also wanted desperately to be taken as an equal. However, her times, her upbringing and her social position, in combination with her powerful personality, had seen to it that this rarely happened. In her youth, women were seldom allowed that kind of scope. And for all Capel’s forward thinking, in marriage he had chosen the more traditional woman. Ironically, Diana Wyndham’s own position regarding scope was that she hadn’t easily accepted her husband’s keeping a mistress.
Gabrielle was more than equal to most men, but without the example of an even half-decent parental relationship, where the balance of power — despite its ups and downs — ultimately swings back and forth so that each partner feels loved, needed and found worthy, she had no positive example. Despite her belief that a long-term, stable relationship was what she wanted, in many ways Gabrielle had not developed the emotional maturity to make it happen. When young, she had luxuriated in being feminine and seduced, but this way of being wasn’t sufficient, hadn’t given enough scope for her intelligence and abilities.
Sadly, she appears to have found it impossible, really, to conduct a relationship without either dominating or being dominated, and each time this led, eventually, to her frustration. She was remarkably able at managing the practicalities of her own and others’ lives; friends were many, many times deeply grateful for her vital support. But like her great contemporary and semifriend Colette, who so publicly wrestled with squaring the problem of love and independence, Gabrielle found real mutual love nearly impossible. They were two highly intelligent women, whose lives and loves epitomized versions of the same problem: “Is there love without complete submission and loss of identity? Is freedom worth the loneliness that pays for it?”13
