We were lucky enough to visit the sold out exhibition ‘Gabrielle Chanel: Fashion Manifesto’ at the V&A earlier this year, the first UK exhibition dedicated to the work of French couturier Gabrielle ‘Coco’ Chanel.
The enduring influence of Gabrielle Chanel distinguishes her as one of the pioneering influences of 20th century western fashion. Her career spanned 60 years where she became renowned as ‘Coco’ Chanel, leading her Brand and designs to the forefront of fashionable society.
Her designs were created for women like her, who lived active and independent lives, whilst still remaining chic and practical – challenging ideas of couture at the time. ‘Championing principles of comfort, simplicity and ease of movement – the Chanel manifesto’.
Chanel started her career as a milliner, opening her first Parisian salon in 1909, the success of which meant she expanded into clothing – establishing boutiques in Deauville and then Biarritz in 1915. Principles of her designs paved the way when women’s role in society changed post WW1. Youthful designs in supple materials such as jersey, elegance redefined.
Spring/Summer 1919 – Silk Georgette and Chiffon
In the 1920’s, Chanel defined her designs with a neutral colour palette: Beige, White and importantly Black. Her pieces were simple, with minimal distractions bar the addition of florals such as on this silk dress above. The embroidered rose motifs add an air of elegance to an otherwise simple and neutral dress.
Chanel & Britain
Chanel established both personal and professional connections in Britain, becoming friends with some players in high society such as Winston Churchill, the Duke of Westmister and the Duke of Windsor.
Her own wardrobe tailored to this: life in Mayfair but also incorporating elements of British sporting life such as tweeds and knitted Jerseys, later translating some elements into her own collections.
Her own riding clothes were made by James Pile – a British Tailor and Huntsman of Savile Row.
Leather and Wool coat, 1922 -24
This fabulous red leather coat lined with wool is a stylish addition to the winter sporting calendar. It has deep pockets concealed in the woven leather paneling which decorates the lower half of the garment
‘The Embroidered Touch’
Chanel’s elegant designs often incorporated embroidery, with an intricate balance between ‘ornament and simplicity’. Sometimes the embroidery would purely be focused on a cuff or a hem but at other times it would encompass the dress entirely.
Working with embroidery houses such as the Paris-based Russian firm Kitmir, she often favoured black bases for the embellishment .
The iconic little black dress became synonymous with Chanel, who recast it as a stylish and chic option – freeing it from the societal constraints of shop assistants and mourning. It became Chanel’s symbol of modernity, becoming a global and long lasting style.
When this dress was worn, the hanging strings of beads would move with the wearer – creating drama and movement wherever they went. Created using a tambour hook, a beautiful and delicate form against the fine base fabric.
Chanel accentuated the female form with her designs, lightweight and streamlined dresses in lace and chiffon had integral decoration to visually cut and define the wearer’s body. Asymmetry, volume and transparency inspired by lingerie designed so that that fabric remained light and floated down the body.
There were times though when Chanel’s designs encompassed abundant and decadent embellishment, swathes of tassels and entirely sequinned fabric – making the wearer shimmer in the light, flounces of fabric which gave a great effect on the dancefloor.
‘The Chanel Suit’
The tweed suit was a defining garment in Chanel’s Post -War fashion direction. ‘A declaration of modern femininity, the Chanel suit for women combined ease and comfort with chic simplicity’. Each garment remained unique, with different colours of tweed or woven fabrics, custom buttons, colourful linings and refined details.
Garments with a relaxed fit and minimally defined waistline went against the ‘new look that was sweeping through Paris – pioneered by Dior. Instead she focused on a cut that would move with a woman, elegance and versatility.
The Final Collection
Chanel’s final collection of 76 looks was presented in January 1971, 2 weeks after her death. Beautiful embellished and embroidered dresses, re-imagined little black dresses all played their part. The collection was presented with the models walking down a staircase, with the exhibition staging it just so.
https://www.vam.ac.uk/exhibitions/gabrielle-chanel-fashion-manifesto