Poiret, Paul. The King of Fashion: The Autobiography of Paul Poiret. London: V & A Publishing, 2009.
Princeton Museum of Art. Pop Art: Contemporary Perspectives. New Haven, CT: Yale University Press, 2007.
Proust, Marcel. À la recherche du temps perdu. Paris: Gallimard, 2002.
Radcliffe, Herbert. “Is There a Fourth Dimension?” World Theosophy (February–June 1931): 293–296.
Radzinsky, Evard. The Rasputin File. New York: Anchor, 2001.
Rain, Patricia. Vanilla: The Cultural History of the World’s Favorite Flavor and Fragrance. New York: Penguin, 2004.
Ralls, Karen. Knights Templar Encyclopedia: The Essential Guide to the People, Places, Events, and Symbols of the Order of the Temple. Franklin Lakes, NJ: New Page Books, 2007.
Rasskavov, Pavel P. Notes of a Prisoner. Arkhangel: Sevkraigiz, 1935.
Reichert, Tom. The Erotic History of Advertising. Amherst, NY: Prometheus Books, 2003.
Rowe, David J., and Philip Kraft. Chemistry and Technology of Flavours and Fragrances. Oxford: Blackwell, 2004.
Sabetay, Hermine. “Creative Asymmetry.” The Theosophist Magazine (August 1962): 301–8.
Salhab, Walid Amine. The Knights Templar of the Middle East. San Francisco: Red Wheel, 2006.
Samuel, Larry. Rich: The Rise and Fall of American Wealth Culture. New York: ACOM, 2009.
Samuels, S. “Souvenirs d’un Parfumeur.” Industrie de la Parfumerie 1, no. 7 (October 1947): 228–31.
Sandrini, Francesca, et al. Maria Luigia e le Violette di Parma. Parma, Italy: Pubblicazioni del Museo Glauco Lombardi, 2008.
Sauvy, Alfred. “The Economic Crisis of the 1930s in France.” Journal of Contemporary History 4, no. 4 (October 1969): 21–35.
Schellenberg, Walter. The Labyrinth: Memoirs of Walter Schellenberg, Hitler’s Chief of Counterintelligence. London: DaCapo Press, 2000.
Schröder, Friedrich, B. E. Lüthge, and Günther Schwenn. Chanel No. 5. Berlin: Corso, 1946.
Schwarzenback, R., and L. Berteschi. “Models to Assess Perfume Diffusion from Skin.” International Journal of Cosmetic Science 23 (2001): 85–98.
Seaton, Beverly. The Language of Flowers: A History. Charlottesville: University of Virginia, 1995.
Sell, Charles. The Chemistry of Fragrances: From Perfumer to Consumer. London: Royal Society of Chemistry Publishing, 2005.
Sert, Misia. Misia and the Muses: The Memoirs of Misia Sert. New York: John Day Company, 1953.
———. Misia par Misia. Paris: Gallimard, 1952.
Seward, Desmond. Prince of the Renaissance, The Life of François I. London: Constable, 1973.
Shipman, Pat. Femme Fatale: Love, Lies, and the Unknown Life of Mata Hari. New York: Harper Perennial, 2008.
Shteir, Rachel. Striptease: The Untold History of the Girlie Show. Oxford: Oxford University Press, 2005.
Stamelman, Richard. Perfume: Joy, Obsession, Scandal, Sin. New York: Rizzoli, 2006.
Tamagne, Florence. A History of Homosexuality in Europe: Berlin, London, Paris, 1919–1939. New York: Algora Publishing, 2006.
Ternon, François. Histoire du No. 5 Chanel: Un numéro intemporel. Nantes: Éditions Normant, 2009.
Thomas, Dana. Deluxe: How Luxury Lost Its Luster. New York: Penguin, 2007.
Toledano, Roulhac B., and Elizabeth Z. Coty. François Coty: Fragrance, Power, Money. Gretna, LA: Pelican Publishing, 2009.
Turin, Luca. The Secret of Scent: Adventures in Perfume and the Science of Smell. New York: Harper Perennial, 2006.
Turin, Luca, and Tania Sanchez. Perfumes: The Guide. New York: Viking, 2008.
Vecchiet, Jean-Michel, dir. Andy Warhol, L’Oeuvre Incarnée: Vies et Morts de Andy Warhol. Paris: France Télévisions, 2005 (film).
Veillon, D. Vivre et survivre en France, 1939–1947. Paris: Payot, 1995.
Verdi, Giuseppe. La Traviata (1853). New York: G. Schirmer, 1986.
Warhol, Andy. The Philosophy of Andy Warhol: From A to B and Back Again. New York: Mariner Books, 1977.
Watson, Lyall. Jacobson’s Organ and the Remarkable Nature of Smell. New York: Plume, 2001.
Weriguine, Constantin. Souvenirs et Parfums: Mémoires d’un parfumeur. Paris: Plon, 1965.
Whalley, Kirsty. “Is Perfume House Hiding Secret Aircraft?” Croydon Guardian, August 2, 2008.
Whitaker, Jan. Service and Style: How the American Department Store Fashioned the Middle Class. New York: St. Martin’s, 2006.
Wilson, Edmund. The American Earthquake: A Chronicle of the Roaring Twenties, the Great Depression, and the Dawn of the New Deal. New York: DaCapo Press, 1996.
Wiser, William. Crazy Years: The Twenties in Paris. London: Thames and Hudson, 1990.
Youssoupoff, Felix. Lost Splendor: The Amazing Memoirs of the Man Who Killed Rasputin. New York: Helen Marx Books, 2007.
INDEX
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific passage, please use the search feature of your e-book reader.
Abdy, Lady, 39
absolutes, 143–45, 146
accords:
as building blocks of perfumes, 39
in chypre perfumes, 43
containing lavender, 41
in oriental perfumes, 40
advertising:
of Chanel No. 5, see Chanel No. 5,
marketing and advertising of
in cosmetics industry, 188–89
expansion in 1950s of, 198
alcohols, 78
aldehydes, 78
arctic concentrations of, 65
in Chanel No. 5, xvi, 60, 62, 63, 65–67, 71, 76, 115, 118
chemistry and impact of, 62–65
as fleeting, 64, 76
introduction of, 45, 144
in L’Aimant (perfume), 118
as novelty, 62
as organic, 63–64
responses stimulated by, 64–65
stabilizing of, 63
Alexandra Feodorovna, czarina of Russia, 49, 50, 51, 52, 55, 71
Alexei Nikolaevich, czarevitch of Russia, 49, 51
Alméras, Henri, 124
ambergris, 19
Ambre (perfume), 109
Amélie, 201
Amiot, Félix, 150, 151–54, 166, 168, 216
Anthony, Mark, 40
anti-Semitism, 134–35
Aphrodite, perfume dedicated to, 19, 42, 77, 79
A. Rallet & Co, 52, 54–55, 92
Armingeant, Pierre, 67
art deco
Chanel’s influence on, 116, 126
launched at 1925 exhibition, 113–16, 126
popularity in U.S. of, 116, 126
À Sainte Marie, 14
Ashes of Roses (perfume), 104
Aubazine Abbey:
architecture and aesthetics of, 5–6, 90, 102, 187
Coco as orphan at, 4, 5–11
flowers and gardens at, 7, 10
scent as part of life at, 6–8, 37, 61
symbolism and numbers at, 8–10, 61
Babani, Maurice, signature scent launched by, 27
Bader, Théophile, 92, 95, 99, 123, 134, 140, 148, 184
Baker, Josephine, xv, 14
Balenciaga, Cristóbal, 117, 137
Ballet Russes, 127
Balsan, Étienne, 17–18, 19, 23–24, 28, 34, 184, 185, 201
Bauer, Albert, 208
Beautiful (perfume), xiii
Beaux, Ernest, 53, 54–57, 142
as celebrated perfumer, 55–56, 61–62, 87
Chanel No. 5 production rate of, 81, 82, 92
as drawn to arctic scents, 56, 65
innovative use of aldehydes by, 61–62, 65, 66–67, 115, 206
at Les Parfums Chanel, 97, 100, 117, 172, 210
as perfumer for Chanel No. 5, 59–62, 65–72, 96–97, 101, 143, 172–73, 202, 206, 210, 215
pride in Chanel No. 5 of, 172–73
at Rallet, 54–55, 69, 96–97, 105
during World War II, 173
Bea
ux, Gilberte, 173
beavers, musk from, 208
Bécu, Jeanne (Madame du Barry), 19
Beene, Geoffrey, 41
Belle de Jour (film), 198, 199
Benaïm, Laurence, 198
Berlin, Germany:
allied occupation of, 181–82
Coco’s wartime trip to, 159–60, 161, 181
Bernard of Clairvaux, Saint, 6–7
Bernhardt, Sarah, 10
Besson, Luc, 200–201
Bianco, Renato, 31
Bienaimé, Robert, 45, 67, 70–71
Blaise, E. E., 62
Bois des Îles (perfume), 167, 202
Bonaparte, Josephine, Empress of France, 10, 20
Bonaparte, Marie Louise, Empress of France, 44
Bonaparte, Napoléon, Emperor of France, 2, 10, 44
Bonofiglio, Virginia, 209
Bonwit Teller, 112
bottom notes, 78
Bouquet, Carole, 199
Bourjois, 29, 42, 93, 97, 104, 112, 141, 172, 189
at 1925 Paris Expo, 114, 115
see also Les Parfums Chanel
Bow, Clara, xv
Bretz, Irène, 107
Brosse, 103
Brower, Ann Montgomery, 216–17
Brut Cologne, 41
Buchenwald, 140, 155, 158
Buñuel, Luis, 198
Burr, Chandler, xvii, 197
Cadolle, 117
Campbell’s Soup, 186
Capel, Arthur “Boy,” 49, 61, 108, 185
bottles belonging to, 102
Coco as mistress to, 24, 27–28, 33–35, 201
death of, 35, 48, 53, 90, 91, 137
Castle, Irene, 27
Castle, Verne, 27
castoreum, 80
Catherine the Great, Empress of Russia, 55
Chambrun, Josée de, 170
Chambrun, René de, 134, 136, 170, 183
Chanel, Albert, 4, 137
Chanel, Gabrielle “Coco”:
anti-Semitism of, 135–36, 185
attempts to undermine Chanel No. 5, 164–66, 165, 167–77
Aubazine aesthetics as influence on, 5–6, 8–10, 61
as Balsan’s mistress, 17–18, 19, 23–24, 28, 34, 201
Berlin trip of, 159–60, 161, 181
boutiques of, 24, 25, 27, 82, 105, 137–38, 202
business doubts of, 85, 116, 129–30, 133–34
as business woman, 84–85, 92, 94, 95–96, 104, 116, 126, 134
cabaret career of, 14, 16–17, 29, 34, 88–89, 93, 127, 201
and Capel’s death, 35, 48, 53, 90, 91
as Capel’s mistress, 24, 27–28, 33–35, 201
Chanel No. 5 rights released by, 91–97
charges of collaboration against, 158–62
Coty’s competition with, 70, 106, 117–18
couturier business of, 23–25, 27, 51–52, 94–95, 96, 122–23, 136, 152, 183–85, 195
death of, 196
de Medici manuscript purchased by, 32, 53
early childhood of, 4–11
Eau Chanel trademarked by, 32
Émilienne d’Alençon admired by, 18, 20–21, 37
fame and celebrity of, 22, 28–29, 48, 66, 75, 87, 90, 93, 97, 116, 119, 125, 128, 129, 132–33, 186
as fashion arbiter and icon, 45–46, 86, 116, 126, 137, 182
fictional childhood created by, 7
fictional portrayals of, 201
first sportswear introduced by, 27
as Hollywood designer, 125, 126–27, 128–29, 132, 190, 199
La Pausa estate of, 119
as Les Parfums Chanel partner, see Les Parfums Chanel
living at Ritz Hotel, Paris, 35, 138, 140, 157, 184, 186
living in Switzerland, 161, 162, 167, 173, 176
logo design of, 106–7
as milliner, 23–25, 127, 185
Molyneux competition with, 83–85, 86
musks disliked by, 20
number five as talisman for, 9–10, 11, 60–61, 82, 84
as orphan at Aubazine, 4–11
as part of demi-monde, 16–18, 33–34, 88–90, 184
as Pavlovich’s lover, 53
perfume philosophy of, 46, 61, 129
perfume studied by, 38–39, 40–45, 104, 143
Pierre Wertheimer’s business relationship with, 153, 183–85
in post-liberation Paris, 157–62
press and media portrayals of, 27–28, 86–90
probable abortion undergone by, 17
public image of, 28, 89–90, 91, 162, 174–76
reaction to Wertheimers’ management, 151–54, 185
relationship with scent of, 6–8, 11, 20–21, 33, 37–38, 72, 77, 136
retirement of, 137, 182
return to Paris of, 182
Sem illustrations of, 88–90
sensuality of, 14, 16–18, 21–22, 37
as shopgirl and seamstress, 14
shop on rue Cambon of, 24, 137–38, 156–57, 163–64
signature scent of, see Chanel No. 5
style and aesthetics of, 5–6, 41, 83, 102, 124, 137, 202
U.S. trip of, 128–30
von Dincklage’s relationship with, 158–62, 167, 182
wartime reputation of, 162, 174–76, 182
as wary of press, 28
wealth and financial success of, 29, 38, 96, 177, 185
work with Beaux of, 59–62, 65–72
Chanel, Inc.:
see also Les Parfums Chanel
“address-inspired” scents from, 202
establishment of, 150
Les Parfums Chanel in relationship to, 167
21st century relaunches from, 202–3
Chanel, Jeanne, 4
Chanel logo, 106–7
Chanel No. 1 (perfume), 109
Chanel No. 2 (perfume), 109
Chanel No. 5 (perfume):
abandoned by Coco as signature scent, 169
as artificial abstraction, 45, 46, 103, 142
Beaux embrace of modernity in, 61–62
bottle and packaging of, xvi-xvii, 101–6, 108, 121–22, 148, 187–88, 199
challenges of 1960s facing, 193–95
Coco’s early planning for, 30–33, 38–39, 40–45
Coco’s identification with, 84–85, 88–90, 89–90, 91, 92, 94–95, 96, 129–30, 136, 164, 176, 186, 215
Coco’s plans to undermine, 164–66, 165, 167–77
commercial success and sales of, xiv, xvii, 84–86, 87–88, 91, 92, 95–96, 97, 115, 116, 132–33, 139, 146–47, 158, 163–64, 176, 183, 195, 213, 215–16
in contemporary art, xvi-xvii, 186–87
cost of, 3, 65, 71, 112, 118, 124, 149–50, 190, 195, 209
Dmitri Pavlovich’s influence on, 52
early 20th-century tensions
encapsulated by, 162–63
enthusiastic response to test of, 75–76, 81–82
exclusivity as element of, 81–82, 85–86, 97, 111, 149, 200
exhibited at MOMA, xvi-xvii, 187
fame and iconic status of, xiii, xvii, 42, 67, 68, 88, 99, 104, 106, 108, 109–10, 113, 118, 125, 129, 131, 138, 148, 149, 162, 175, 181, 186, 187–88, 199, 213, 215, 215–17
imitations and alternatives of, 67, 69, 117–18, 169, 170, 173–75, 203, 212, 214
introduction and launch of, xiv, 27, 67, 75–76, 81–90, 105
late 1950s drop in popularity of, 190–91
legends and stories surrounding, xiii, xv-xvi, xv-xvii, xvi, xvi-xvii, 32–33, 53, 57, 67, 68–72, 86–87, 96, 96–97, 100, 102, 105–6, 112–13, 115, 215
as le monstre among perfumes, xvii, 63, 186, 197, 202
linked to Chanel fashions, 122–23, 132
luxury associated with, 3, 95, 111, 121, 122, 133, 147, 148, 149, 170, 188, 194, 195, 214
name chosen for, 60–61
as originally envisioned by Coco, 37–38, 45–46, 47, 53, 59–60, 65–66, 70, 72, 100, 101–3, 194, 198
overexposure of, 133, 148–49, 190–91, 193–94, 200, 211
parfum concentration of, 212
perfumer sought for, 48, 53
production and distribution of, 81–82, 85–86, 92–97, 140–44, 166–67, 171, 190–91, 194
public following for, xvii-xviii, 85, 92, 115, 214–17
revitalized popularity of, 199–200, 203
rooted in Coco’s life experiences, 3–4, 11, 37–38, 88–90, 95, 102, 184, 197, 201, 214, 215
scent and quality consistency over time of, 146–47, 171, 207–12
Sem illustrations of, 86–90, 92, 104
sold through military commissaries, 148–49, 167, 190–91, 194
spirit of Roaring Twenties captured by, 3, 67, 118
spokesmodels for, 197–201
stopper design for, 104–5
as symbol and souvenir of France, 139, 149, 157, 159, 162–64, 216–17
Truman’s search for, 157, 162, 181
voted most seductive scent, xiii-xiv, 76
Warhol silk screens of, xvi, 186, 199
Chanel No. 5, marketing and advertising of, 97, 108–9, 111–16, 121, 121–23, 133–34, 147–50, 211, 213
demi-monde as related to, 201
during 1950s, 190–91
during 1960s, 194–96, 198
during 1970s and 80s, 199–200
during 1990s and 2000s, 200–201
earliest, xvi-xvii, 75–76, 81–82, 86, 99–101
Hollywood element to, 125, 126
Les Parfums Chanel European strategy for, 113, 115–16
Little Red Riding Hood campaign for, 200–201
as luxury vs. mass market item, 148–49, 190–91, 193–94, 200
middle class as target of, 121–22
as one of several fragrances, 109, 112–13, 116, 131
in pocket sizes, 121–22, 148
spokesmodel campaigns in, 197–201
on television, 189–90
as understated and modest, 100–101, 112
in U.S. market, 99–100
word of mouth, 81–82, 86
World War II era, 147–50
Chanel No. 5 (opera), 181–82
Chanel No. 5 formula:
aldehydes used in, xvi, 60, 62, 63, 65–67, 71, 76, 80, 115, 205–6, 208
changes made to, 207–11
development of, 59–62, 65–72
floral-aldehyde balance of, 66, 71, 149, 205–6
IFRA regulation risks to, 205–7, 211
impact of aldehydes on, 65, 66, 67, 80
as inherently and structurally sensual, 80
jasmine in, 60, 61, 65–66, 71, 76, 79, 124, 141–46, 205–6, 208, 210–11
musks used in, 207–9
nitro-musks used in, 208–9
The Secret of Chanel No. 5 Page 22
