Arletty, 265
Arnaud, Marie-Hélène, 285, 287, 310
Aubazine: abbey, 28–32, 42, 234; C visits, 33; influence on La Pausa, 178–9, 181, 182; influences C, 109, 117, 195, 219, 223; orphanage, 25–8, 29–32, 39, 315
Aubert, Madame, 250, 251, 323
Auster, Paul, 111
Bacall, Lauren, 293
Bader, Théophile, 123, 124
Balenciaga, 252, 289, 300, 333
Ballard, Bettina, 46, 118–20, 182, 184, 283–5, 287, 288, 310, 311
Ballets Russes: Apollon musagète, 213; Bacchanale, 246; Cocteau’s designs, 137, 213; Le Sacre du printemps, 105, 130; Le Train bleu, 106, 165, 176; and Murphy, 177; Rome performance (1917), 127; in Spain, 135; in Switzerland, 128
Balsan, Etienne: in Argentina, 64; childhood, 49–50; C’s ‘pregnancy’, 53; death, 282; and Emilienne d’Alençon, 51, 52, 55; gift of lemons, 67–8; horse-riding, 45, 46, 61, 120; love affair with C, 51–5, 61–2, 63, 67, 87–8; loyalty to C, 49; meets C, 46; military service, 50–1; retirement, 250; supports C, 67, 68–9
Balsan, François, 50
Bardot, Brigitte, 292
Bataille, Mme, 140–2
Bate, Bridget, 185, 242
Bate, Fred, 163, 241, 242
Beaumont, Count Etienne de, 222, 245
Beaton, Cecil, 220, 240, 265, 311, 316, 319–20
Beaux, Ernest, 114–17, 118, 120, 121, 123, 124, 125, 128, 137
Bergman, Ingrid, 292
Bernhardt, Sarah, 58, 59
Biarritz, 79, 118, 128, 176
Blondell, Joan, 210
Blunt, Wilfrid, 148, 160
Bonheur, Gabriel, 16
Bosset, Vera de, 135
Bourjois, 123, 269, 273–4
Bousquet, Marie-Louise, 251, 265
Brady, James, 272, 307
Brando, Marlon, 270
Brisson, Frederick, 316
Brive-la-Gaillarde, 21, 22, 25
Brontë sisters, 20, 200
Canaris, Wilhelm, 240, 241, 256
Cannes, 118, 157–8, 173, 176, 177, 178
Capel, Arthur ‘Boy’: at Antoinette’s wedding, 198; and British etiquette, 86; C cuts clothes, 65; C’s independence from, 74; as C’s mentor, 11,87,91–2; daughters, 87–8, 90, 104, 134; death, 88–90, 91–2, 101, 102, 104, 108, 120, 134; double C logo, 75, 92; early life, 61; as English, 19; godfather to André, 33, 75, 76, 179–81; horse-riding, 7, 62–3, 64; love affair with C, 63–5, 70, 71–3, 86, 95, 97, 232, 280, 324; marriage to Diana, 81–3, 87, 88, 91, 161, 165; meets C, 61, 62; military service, 78, 82, 87; mistresses, 64, 65, 71–2, 87; photograph of, 7; Reflections on Victory, 82; supports C, 67, 68–9, 70, 73, 74, 90, 241; theosophy, 11, 91–2, 117; Versailles Council, 82
Capel, Diana (née Lister), 81–3, 88, 89, 90–1, 104, 134, 160–1, 165
Capote, Truman, 54
Cardin, Pierre, 289, 300
Céline (maid), 327, 329
Chambrun, René de, 275–6
Chanel, Adrienne (C’s aunt), 39, 41, 45, 46, 53–4, 59, 71, 78, 198, 247
Chanel, Alphonse (C’s brother), 15, 79, 247
Chanel, Antoinette (C’s sister), 15, 21, 25, 32, 40, 71, 78, 198, 247
Chanel, Augustin (C’s brother), 15
Chanel, Eugénie Jeanne (C’s mother), 14–18, 20–2, 26, 28, 46, 58, 59, 65, 137
Chanel, Gabrielle ‘Coco’ fabrications: ‘aunts’, 26; birth and age, 5, 14, 22, 98; Capel, 71–2; Capel on, 71; Chanel N°5, 114, 117, 120; childhood dresses, 36, 37, 42; Delay on, 315; escape to Vichy, 45–6; father, 27–8; Gabrielle on, 76; Julia, 32; love affair with Bendor, 163, 164–5; motivation for, 13–14, 37, 54; told to Balsan, 52–3
family: Adrienne’s wedding, 198; ‘aunts’, 26, 27, 36, 37, 40, 41, 42, 234; brings up André, 32–3, 75; childless, 314; identifies with father, 27–8; parents marry, 15, 26; separates from brothers, 247
fashion: childhood tailoring, 45; death of decadence, 79; diktats, 207, 289; Dior infuriates, 283; on ephemerality of, 2; expressing the moment, 79, 109; on failure of Hollywood, 213–14; learns to sew, 36, 40, 137;
on other designers, 288; as state of mind, 74; at work, 197, 309–10, 315–16, 320
houses, apartments and hotels; Avenue Gabriel, 74, 86, 87; Beau Rivage, 280; Bel Respiro, 90, 130–3, 134; Faubourg St-Honoré, 217–19, 228–9, 234, 241–2; La Pausa, 7, 173, 177–86, 192, 235, 242, 253, 278, 280; Ritz, 3–4, 22, 68, 214, 217, 229, 234, 245, 247–50, 251–2, 262–3, 285, 298, 309, 316, 325–9; Saint Cloud, 88, 89, 91
life: ‘affair’ with Stravinsky, 133–5; appeals to Churchill, 243, 256–8, 261; Berlin ‘trip’, 260–1; birth, 14–15; Capel’s death, 88–90, 91–2, 101, 102; as ‘Coco’, 18, 45, 96; Dallas trip, 295–300; death, 329–33; death of Diaghilev, 201–2, 282; death of Misia, 282; decorates Rosehall, 166–7, 171; departs for Pyrenees, 250–1; employment in Moulins, 45; fainting fits, 73; FFI questioning, 262–3; first breakdown, 168; fishing, 145–7, 168, 169; graveyards, 19–20, 22; hand paralysis, 320; Hollywood, 205–15, 293; horse-riding, 7, 42–4, 45, 52, 62–3, 120, 166, 168, 251, 291; hunting, 166, 168, 169; Italian trip, 103–4; and Jews, 270–3; lesbian rumours, 310–11, 319; loathes passion, 232; loneliness, 314–15, 319; as ‘Mademoiselle’, 18, 323, 327; Madrid trip, 254–8, 267; Mary’s ball, 192–5; meets Beaux, 114; meets Misia, 96, 101; nightmares, 214–15, 327–8; Notre Dame school, 39, 40, 44; opiate use, 214, 282, 327, 328, 329; orphanage, 25–8, 29–32, 39; outsider in Paris, 108–9; police files on, 241–3, 261; rheumatism, 285; Sert as mentor, 102–3; smoking, 7, 266; suicidal impulses, 41, 46; triangular relationships, 61–2, 134; Vera’s wedding, 242; visits Aubazine, 33; in wartime Paris, 251–6, 258, 259; on women, 296, 298, 315
literature: aphorisms, 110; Brontë sisters, 20, 200; Capel as mentor, 11;
costumes for Antigone, 105–6, 213; C’s memoirs, 280–2; finances Le Témoin, 227, 243; La Dame aux camélias, 58–9; library, 4,111, 324; Orphée, 213; Reverdy, 110–11; romances, 40–1, 86, 200
lovers, see Balsan, Etienne; Capel, Boy; Dincklage, Hans Gunther von; lribe, Paul; Pavlovich, Grand Duke Dmitri; Reverdy, Pierre; Westminster, 2nd Duke of
music, dance and film: Bacchanale, 245–6; Coco, 316–20; Goldwyn woos, 205–7; The Greeks Had a Word for Them, 210; Le Sacre du printemps, 104–5, 130; Le Train bleu, 106, 173, 213; organ-playing, 40; Palmy Days, 210; post-comeback, 292–3; singing, 40,45, 185; supports Diaghilev, 105, 130, 134, 135, 164, 202; supports Stravinsky, 130–1, 135–6, 164; Tonight or Never, 210–11
religion and mysticism: astrology, 5, 117; First Communion, 36–7, 42, 200–1; loss of faith, 42; numbers, 9, 11, 117, 124, 290; objects at Rue Cambon, 3, 9; prays to St Anthony, 104; stops attending Mass, 73; symbolism of white, 198; Tarot, 9; theosophy, 11, 91–2, 117
wardrobe and appearance: androgyny, 58, 69, 72, 86; Beaton on, 316; beige, 298; Bendor’s tweeds, 171, 289; as best model, 288; black, 58, 166; blouses, 188, 295; Capel’s influence, 73; Capote on, 54; cardigans, 171; cleanliness, 59, 117–18, 195, 251–2, 316; corsets, 65; dresses, 7, 64–5, 87, 192, 202; equestrian clothes, 52; evening gowns, 166, 192; face, 7, 13, 45; facelift, 283, 284, 314, 328; First Communion, 36, 42, 200–1; at Gabrielle’s, 324–5; hair, 7, 21–2, 45–6, 86–7, 296, 311–14, 319, 324; hats, 58, 192, 210, 295; jackets, 192, 316, 324; jewellery, 7, 184, 188–9, 220, 288, 295; at La Pausa, 182, 184; little black dress, 87, 110; Loelia on, 188; make-up, 87, 282–3, 284, 316; Muggeridge on, 265–6; orders first dress, 37; pearls, 171, 184, 186, 192, 220, 295; photographs of, 7, 124, 192, 310, 324; pyjamas, 184, 192; red, 207, 298; Ross on, 295; shirts, 58, 288; shoes, 182, 192, 295; skirts, 207; slacks, 182, 184; stance, 288; stockings, 188; striped tops, 7; suits, 188, 295, 298; sweaters, 182, 184; tiaras, 86; ties, 58; trousers, 7; tweeds, 220, 324; velvet coat, 96; white, 191–2, 202, 288, 295; youthfulness of, 186
Chanel, Henri-Albert (C’s father); absence from C’s life, 15,21, 25, 27–8, 39, 41, 65, 164; C as favourite, 22; C as ‘little Coco’, 18; C’s First Communion, 200; C’s memories, 328; parent
s and family, 39; as trader, 14; in US, 25, 36, 42, 46, 214
Chanel, House of boutiques: Biarritz, 79, 118; Cannes, 173; Deauville, 78, 118, 272; early growth of, 70, 72; London, 170, 181; see also Rue Cambon
business: awards, 295, 299; C’s business sense, 137, 140–2, 213; C’s comeback, 272, 283–7; C’s work ethic, 222; Depression, 192, 207, 220; Huddersfield factory, 181; independence from Capel, 74; Mademoiselle Chanel perfume, 275, 276, 278; and Paris riots, 231; rapid rise of, 83; strikes, 246–7; support from Capel, 67, 68–9, 70, 73, 74, 90; and Vera, 162, 245; Wertheimer’s backing, 285, 298; workers’ holidays, 242; WWII closure, 213, 245–7, 252, 256, 281
collections: 1939, 284; autumn/winter 1961, 305; biannual, 168–9; London, 170; spring 1922, 142; spring 1933, 197; spring 1934, 231; spring 1954, 283–5, 287–8, 295, 314; spring 1970, 320; spring 1971, 333
colours: black, 79, 92–3, 191, 284; monochrome, 79; navy, 176, 287; pink, 300, 304–5, 307; white, 176, 191, 195–8
double C logo: as C and Capel, 75, 92; on Chanel N°5, 124; as double affair, 88; on jackets, 290; on Mayfair lampposts, 171; prefigured at Aubazine, 28; at Rue Cambon 2, 11
fabrics: embroidered, 137, 142, 143; fur, 143, 205, 211; jersey, 72, 79, 285, 289; satin, 211; silk, 140–2, 143, 289; tulle, 197; tweed, 171, 289, 296, 333; wool, 284
garments: blouses, 79, 140–2, 285, 296; coats, 142; dresses, 170, 197, 205, 210, 220, 245, 287, 333; jackets, 79, 142, 289–90, 310; little black dress, 92, 191, 293; pumps, 292; skirts, 79, 171, 220, 245, 285; suits, 171, 284, 285, 287, 304–7, 309–10; sweaters, 296; wedding gowns, 198
handbags: 2.55, 290–1; chains, 291–2; quilting on, 8, 291
jewellery: aristocrats as designers, 222–3; designs, 5, 59, 189; diamond exhibition, 217–20, 227; earrings, 197; fake and real gems, 218; ingenuity of, 219–20; pearls, 2, 92
millinery: Balsan and Capel’s support, 67, 68–9, 241; designs, 69; Jackie K’s hat, 305; and Jeanne Dirys, 223; Poiret on, 70; Rue Cambon premises, 70–1; sailor, 285; stock from Galeries Lafayette, 69, 123
styles: androgynous, 72–3, 289, 311; Aubazine influence, 109, 117, 195; Beaton on, 220; English influence, 73, 170–1, 289; fitting to WWI, 79; gypsy, 245; and popular taste, 139–40, 288; Riviera chic, 176; Russian influence, 137, 142–3; sailor, 142–3, 176, 285; Scottish influence, 171; simplicity of, 69, 73, 74, 139, 220; sports clothes, 176; ‘timelessness’, 288
Chanel, Inc., 276
Chanel, Julia (C’s sister), 14, 15, 21, 22, 25, 32, 33, 40, 53, 247
Chanel, Lucien (C’s brother), 15, 79, 247
Chanel N°5: as abstraction and catalyst, 125; creation of, 116; C’s childhood memories, 117–18; early examples, 124; as fairy tale, 114; free for Gls, 266, 267; glass stoppers, 123; ingredients, 116, 117, 118; Jackie K buys, 306; Misia’s account, 120–2; modernism of, 125; Monroe’s quip, 293; naming of, 117; original bottle, 125; production, 123; sales, 11, 114, 124; sprayed in boutiques, 118, 125, 325; wartime exports, 273; worn by C, 325
Charles-Roux, Edmonde, 240, 247, 256
Chéruit, Madelaine, 64
Churchill, Randolph, 258, 259
Churchill, Winston: Bendor works for, 161; on C, 147, 168; C appeals to, 243, 256–8, 261; C as collaborator, 262, 263; C entertains, 169, 245, 325; C loses to, 266; on Flying Cloud, 161; friendship with Bendor, 147, 149, 160, 243–4; and Pamela Lytton, 159; on Rosehall, 166–8; Vera appeals to, 243, 244–5, 258–9, 260, 261; visits La Pausa, 184, 185
Claire, Ina, 205, 210
Clemenceau, Georges, 82, 161
Clouet, François, 198
Cocteau, Jean: Antigone, 105–6, 213; C’s nickname, 324; designs, 137, 176, 192; gossip on Misia, 95, 103; inspired by Misia, 97–8; Le Mot, 223; opiate use, 282; Orphée, 213; visits La Pausa, 185; in WWI, 223; in WWII, 250, 253, 265
Colette, 197, 227, 234
Compiègne, 46, 51, 53, 120, 251
Cooper, Duff, 81–3, 88, 89, 90–1, 280
Cornwallis-West, Patsy, 159
Cornwallis-West, Shelagh, 149, 156, 157–60, 192, 195
Corrèze, 40
Costier, Louise (C’s aunt), 39, 40, 42
Costier, Paul (C’s uncle), 39, 41, 42
Courreges, André, 289, 306, 333
Courpière, 15
Coward, Noël, 184, 247–50, 310
Daisy, Princess of Pless, 156, 157–9
d’Alençon, Emilienne, 51, 52, 53, 54–5, 68, 118
Dalí, Salvador, 8, 185, 246, 250, 333
Dallas, 295, 300, 304–6
Daudet, Lucien, 120–1
Davelli, Marthe, 55, 128
Deauville, 70, 78, 118, 123, 176
Debussy, Claude, 95, 131, 133
Decourcelle, Pierre, 40–1
Delay, Claude, 13, 21, 42, 46, 59, 195, 200, 214–15, 270, 314, 315, 320, 326–9
DeMille, Cecil B., 226, 232–1
Déon, Michel, 280
Diaghilev, Serge: C supports, 105, 130, 134, 135, 164, 202; death and funeral, 201–2, 282; friend of Misia, 96, 104–5; Le Sacre du printemps, 133; Rome performance (1917), 127; in Switzerland, 128; work ethic, 137
Dietrich, Marlene, 210, 293
Dincklage, Hans Gunther von (‘Spatz’): as Abwehr agent, 240–1, 261; and André, 252, 254; love affair with C, 237–40, 252, 253–4, 278
Dior, Christian, 246, 250, 283, 284, 289, 300
Dirys, Jeanne, 223, 227
Doerries, Reinhard R., 280
Domenger, Germaine, 252, 253, 257, 262–3
Dorziat, Gabrielle, 55, 68
Dubois, André-Louis, 16–18
Dumas, Alexandre, 11, 58
Eaton Hall, 149–57, 159, 165, 166, 168, 169, 186, 244
Edwards, Alfred, 99–101
Emery, Audrey, 128, 206
England: André boards in, 76, 104; Balsan’s schooling, 50; C on the English, 165, 170, 214; influences C, 73, 171, 289
Evans, Madge, 210
Fairchild, John, 288, 293, 300–1, 316
Fane, Julian, 91
Feodorovna, Grand Duchess Elizabeth, 137–8
Fitzgerald, F. Scott, 176–7
Flanner, Janet, 192, 206, 207, 219, 220, 229–31, 246
Fresnes prison, 263–4
Galante, Pierre, 240–1, 276, 278, 285
Garbo, Greta, 210, 214
Gimbel, Bernard, 276
Givenchy, 300, 304
Godebski, Cyprian, 98
Goldwyn, Samuel, 205–11
Grasse, 114, 120
Grès, Madame, 252, 300
Grosvenor, Edward George Hugh, Earl, 157
Grosvenor, Lady Mary Constance, 159, 192
Grosvenor, Lady Ursula Mary Olivia, 156, 157, 258
Grosvenor, Victor Alexander, Earl, 148
Grumbach, Lilou, 327
Haedrich, Marcel, 15, 278, 310–11, 328
Harcourt, Antoinette d’, 272
Hemingway, Ernest, 176
Hepburn, Katharine, 316, 319, 320
Hoare, Sir Samuel, 244–5, 256, 257
lribe, Paul: C on, 228–9, 232–4; Colette on, 227–8, 234; death, 235; as designer, 226, 327; Le Témoin, 223, 227, 243; love affair with C, 227–9, 232–4; nationalism, 227, 231–2, 234
Johnson, Lady Bird, 305–6
Kelly, Grace, 293
Kennedy, Jacqueline, 300–7, 319
Kennedy, John F., 300, 301, 304–7
Keppel, Mrs George, 189
La Bocca, 114–16
La Rochefoucauld, François de, 110
Laborde, Léon de, 89
Labrunie, Gabrielle (C’s great-niece), 33, 53, 76, 179–81, 185, 195, 251, 298, 314–15, 323–5
Lagerfeld, Karl, 323
Lausanne, 128, 278, 333
Léger, Fernand, 107, 176
Lelong, Lucien, 192, 250, 252–3
Lerner, Alan Jay, 316, 320
Les Parfums Chanel: archive, 123, 124; Beaux as technical director 120; Bois des lles 121 273; C on 296; C uses anti-Jewish laws 270,273; Chanel N22, 121, 273; cosmetics, 124, 269; Croydon fact
ory, 269; C’sshare, 124,273; Cuir de Russie, 121, 137, 143, 273; established, 124; Gardénia, 121, 273; legal battles, 273, 275–8; production in Pantin, 123; sales in US, 214; settlement, 278, 298; and Tender is the Night, 177; underwrites 1954 collection, 285; Wertheimers’ share, 124, 269, 273; in WWII, 246, 270; see-also Chanel N°5
Lifar, Serge, 7, 105, 185, 201, 253, 265, 333
Lombardi, Alberto, 185, 241, 242–3, 244, 256, 258, 259, 260
Lombardi, Vera Bate (née Arkwright), 162–3, 169, 241, 242–5, 256–60, 261, 262, 282
London: Bourdon House, 170, 181, 192; C’s collection in, 170–1; double Cs in Mayfair, 171; Grosvenor House, 156, 160, 170; lribe’s negotiations, 227
Lytton, Pamela, 159
Madrid, 101, 254–60, 261, 262, 267
Maggiore, Edgar, 179
Manners, Lady Diana, 88
Marcus, Stanley, 276, 295, 299
Marie, Crown Princess of Romania, 156–7
Massaro, Monsieur, 292
Maxwell, Sir John, 161
Mdivani, Roussy, 201
Mendl, Lady, 245, 250
Michelham, Lady Bertha, 89–90
Millar, Gertie, 159
Mimizan, 159, 168, 242
Mironet, François, 327
Mitford, Nancy, 283
Momm, Theodor, 254–6, 261
Monroe, Marilyn, 293, 306
Monte Carlo, 129, 135, 148, 157, 161, 163, 182, 184, 188, 192, 206, 278, 282
Morand, Paul, 13, 95, 202, 280–2, 324, 333–4
Moreau, Jeanne, 292, 333
Moulins, 39–42, 44–6, 49, 250, 323
Muggeridge, Malcolm, 263–7
Murphy, Gerald and Sara, 176, 177
Mussolini, Benito, 244–5, 260
Natanson, Thadée, 99–101
Nelson, Violet, 161–2
New York, 101, 207, 211, 213, 223, 298, 300–1, 320
Nexon, Baron Maurice de, 46, 53, 59, 70, 198
Nicholas II, Tsar, 127, 129
Nijinski, Vaslav, 105, 133, 137
Orlandi, Suzanne, 55, 68
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