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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 Her involvement with Iribe was a deep one until his sudden death in The Chanel couture was a lucrative business enterprise, by employing 4, people.
The boyish look and the short skirts of the s flapper seemed to disappear overnight. Chanel's designs for film stars in Hollywood were not successful and had not enhanced her reputation as 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 , was garnering critical acclaim and generating enthusiasm in the fashion world.
Feeling she was losing her avant-garde edge, Chanel collaborated with Jean Cocteau on his theatre piece Oedipe Rex. The costumes she designed were mocked and critically lambasted: However, due to the declaration of war by Great Britain on 3 September , 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. In , at the beginning of World War II , Chanel closed her shops, maintaining her apartment situated above the couture house at 31 Rue de Cambon.
She said that it was not a time for fashion;  as a result of her action, 4, female employees lost their jobs. In closing her couture house, Chanel made a definitive statement of her political views.
Her dislike of Jews, reportedly inculcated by her convent years and sharpened by her association with society 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 Union.
During the German occupation, Chanel resided at the Hotel Ritz. It was noteworthy as the preferred place of residence for upper-echelon German military staff.
World War II, specifically the Nazi seizure of all Jewish-owned property and business enterprises, provided Chanel with the opportunity to gain the full monetary fortune generated by Parfums Chanel and its most profitable product, Chanel No.
The directors of Parfums Chanel , the Wertheimers, were Jewish. Chanel used her position as an " Aryan " to petition German officials to legalize her claim to sole ownership.
At war's end, Amiot returned "Parfums Chanel" to the hands of the Wertheimers. During the period directly following the end of World War II, the business world watched with interest and some apprehension the ongoing legal wrestle for control of Parfums Chanel.
Interested parties in the proceedings were cognizant that Chanel's Nazi affiliations during wartime, if made public knowledge, would seriously threaten the reputation and status of the Chanel brand.
Forbes magazine summarized the dilemma faced by the Wertheimers: On 17 May , Chanel received wartime profits from the sale of Chanel No.
Her future share would be two percent of all Chanel No. The financial benefit to her would be enormous. In addition, Pierre Wertheimer agreed to an unusual stipulation proposed by Chanel herself.
Wertheimer agreed to pay all of Chanel's living expenses—from the trivial to the large—for the rest of her life. Signalled as suspect in the file" Pseudonyme: Anti-Nazi activist Serge Klarsfeld declared, "It is not because Chanel had a spy number that she was necessarily personally implicated.
Some informers had numbers without being aware of it. Vaughan establishes that Chanel committed herself to the German cause as early as and worked for General Walter Schellenberg , chief of the German intelligence agency Sicherheitsdienst Security Service and the military intelligence spy network Abwehr Counterintelligence at the Reich Main Security Office Reichssicherheitshauptamt in Berlin.
He was released in owing to incurable liver disease and took refuge in Italy. Chanel paid for Schellenberg's medical care and living expenses, financially supported his wife and family, and paid for Schellenberg's funeral upon his death in When interrogated by British intelligence at war's end, Schellenberg maintained that Chanel was "a person who knew Churchill sufficiently to undertake political negotiations with him".
Count Joseph von Ledebur-Wicheln, a Nazi agent who defected to the British Secret Service in , recalled a meeting he had with Dincklage in early, in which the baron had suggested including Lombardi as a courier.
Dincklage purportedly said, "The Abwehr had first to bring to France a young Italian woman [Lombardi] Coco Chanel was attached to because of her lesbian vices Unaware of the machinations of Schellenberg and Chanel, Lombardi was led to believe that the forthcoming journey to Spain would be a business trip exploring the potential for establishing Chanel couture in Madrid.
Lombardi acted as intermediary, delivering a letter written by Chanel to Winston Churchill, to be forwarded to him via the British Embassy in Madrid.
British intelligence files reveal that the plan collapsed after Lombardi, on arrival in Madrid, proceeded to denounce Chanel and others to the British Embassy as Nazi spies.
The committee had no documented evidence of her collaborative activities and was obliged to release her. According to Chanel's grand-niece, Gabrielle Palasse Labrunie, when Chanel returned home she said, "Churchill had me freed".
The extent of Churchill's intervention for Chanel after the war became a subject of gossip and speculation.
Some historians claimed that people worried that, if Chanel were forced to testify about her own activities at trial, she would expose the pro-Nazi sympathies and activities of certain top-level British officials, members of the society elite, and the royal family.
Vaughan writes that some claim that Churchill instructed Duff Cooper , British ambassador to the French provisional government, to protect Chanel.
Requested to appear in Paris before investigators in , Chanel left her retreat in Switzerland to confront testimony given against her at the 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: Chanel's friend and biographer Marcel Haedrich said of her wartime interaction with the Nazi regime: When Vaughan's book was published in August , his disclosure of the contents of recently declassified military intelligence documents generated considerable controversy about Chanel's activities.
The House of 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.
The Chanel Group stated, "What is certain is that she had a relationship with a German aristocrat during the War. Clearly it wasn't the best period to have a love story with a German even if Baron von Dincklage was English by his mother and she Chanel knew him before the War.
In an interview given to the Associated Press , author Vaughan discussed the unexpected turn of his research, "I was looking for something else and I come across this document saying 'Chanel is a Nazi agent' Then I really started hunting through all of the archives, in the United States, in London, in Berlin and in Rome and I come across not one, but 20, 30, 40 absolutely solid archival materials on Chanel and her lover, Hans Günther von Dincklage, who was a professional Abwehr spy.
Vaughan also addressed the discomfort many felt with the revelations provided in his book: This is definitely something that a lot of people would have preferred to put aside, to forget, to just go on selling Chanel scarves and jewellery.
In , Chanel moved to Switzerland , where she lived for several years, part of the time with Dincklage. Five rooms from La Pausa have been replicated at the Dallas Museum of Art , to house the Reves' art collection as well as pieces of furniture belonging to Chanel.
Unlike the pre-war era, when women reigned as the premier couturiers, Christian Dior achieved success in with his " New Look ", and a cadre of male designers achieved recognition: Chanel was convinced that women would ultimately rebel against the aesthetic favored by the male couturiers, what she called "illogical" design: At more than 70 years old, after having her couture house closed for 15 years, she felt the time was right for her to re-enter the fashion world.
According to Edmonde Charles-Roux, : In her last years she was sometimes accompanied by Jacques Chazot and her confidante Lilou Marquand.
The former rivals shared happy memories of times with the Duke of Westminster. They frequently strolled together through central Paris. As began, Chanel was 87 years old, tired, and ailing.
She carried out her usual routine of preparing the spring catalogue. She had gone for a long drive the afternoon of Saturday, 9 January.
Soon after, feeling ill, she went to bed early. She died in her infamous style, announcing: As early as , Harper's Bazaar raved over Chanel's designs: This season the name Chanel is on the lips of every buyer.
The Chanel trademark look was of youthful ease, liberated physicality, and unencumbered sportive confidence.
The horse culture and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel's imagination. Her own enthusiastic indulgence in the sporting life led to clothing designs informed by those activities.
From her excursions on water with the yachting world, she appropriated the clothing associated with nautical pursuits: Chanel's initial triumph was the innovative use of jersey fabric, a machine knit material manufactured for her by the firm Rodier.
Chanel's early wool jersey traveling suit consisted of a cardigan jacket, and pleated skirt, paired with a low-belted pullover top.
This ensemble, worn with low-heeled shoes, became the casual look in expensive women's wear. Considered too "ordinary" to be used in couture, it was also disliked by designers because the knit made it difficult to handle compared to woven fabrics.
Chanel's introduction of jersey to high-fashion worked well for two reasons. First, the war had caused a shortage of other materials and second, women were desiring more simple and practical clothes.
Her fluid jersey suits and dresses were created for practicality and allowed free movement. This was greatly appreciated at the time because women were working for the war effort as nurses, in civil service and in factories.
Their work involved physical activity and they had to ride trains, buses and bicycles to get to work. Designers such as Paul Poiret and Fortuny introduced ethnic references into haute couture in the s and early s.
The beading and embroidery on her garments at this time was exclusively executed by Kitmir , an embroidery house founded by an exiled Russian aristocrat, the Grand Duchess Maria Pavlovna , the sister of her erstwhile lover, Grand Duke Dmitri Pavlovich.
The Chanel tweed suit was built for comfort and practicality. It consisted of a jacket and skirt in supple and light wool or mohair tweed and a blouse and jacket lining in jersey or silk.
Chanel did not stiffen the material or use shoulder pads, as was common in contemporary fashion. She cut the jackets on the straight grain, without adding bust darts.
This allowed for quick and easy movement. She designed the neckline to leave the neck comfortably free and added functional pockets designed to hold things.
For a higher level of comfort, the skirt had a grosgrain stay around the waist, instead of a belt.
More importantly, meticulous attention was placed on detail during fittings. Measurements were taken of a customer in a standing position with arms folded at shoulder height.
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 sure women could do all of these things while wearing her suit, without accidentally exposing parts of their body they wanted covered.
Each client would have repeated adjustments until their suit was comfortable enough for them to perform daily activities with comfort and ease.
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.
After the jersey suit, the concept of the little black dress is often cited as a Chanel contribution to the fashion lexicon, a style still worn to this day.
In —, the actress Suzanne Orlandi was one of the first women to wear a Chanel little black dress, in velvet with a white collar.
Feminine fashion of this moment in the 20th century will be baptized lop off everything. The s was the Great Depression era, when women needed affordable fashion.
Chanel boasted that she had enabled the non-wealthy to "walk around like millionaires". Chanel proclaimed "I imposed black; it's still going strong today, for black wipes out everything else around.
Chanel introduced a line of jewellery that was a conceptual innovation, as her design and materials incorporated both costume jewelry and fine gem 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 design traditions of the Orient and Egypt.
Wealthy clients who did not wish to display their costly jewellery in public could wear Chanel creations to impress others.
In , designer Paul Iribe collaborated with Chanel in the creation of extravagant jewellery pieces commissioned by the International Guild of Diamond Merchants.
The collection, executed exclusively in diamonds and platinum, was exhibited for public viewing and drew a large audience; some 3, attendees were recorded in a one-month period.
As an antidote for vrais bijoux en toc , the obsession with costly, fine jewels,  Chanel turned costume jewellery into a coveted accessory—especially when worn in grand displays, as she did.
Originally inspired by the opulent jewels and pearls given to her by aristocratic lovers, Chanel raided her own jewel vault and partnered with Duke 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.
Chanel said, "It's disgusting to walk around with millions around the neck because one happens to be rich. I only like fake jewellery In Chanel introduced a handbag inspired by soldier's bags.
Its thin shoulder strap allowed the user to keep her hands free. The bag's design was informed by Chanel's convent days and her love of the sporting world.
The chain used for the strap echoed the chatelaines worn by the caretakers of the orphanage where Chanel grew up, whilst the burgundy lining referenced the convent uniforms.
In an outdoor environment of turf and sea, Chanel took in the sun, making suntans not 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. The Chanel influence made sun bathing fashionable.
From Wikipedia, the free encyclopedia. For the television film, see Coco Chanel film. Retrieved 8 November Women Who Changed the World.
Retrieved 8 March Retrieved 20 May Wie Coco fast den Krieg beendet hätte" [Fashion legend Chanel: How Coco almost ended the war].
Spiegel Online in German. Sleeping with the Enemy: Coco Chanel's Secret War. If you already bought an AppleCare product, you can manage it online.
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