“She was shrewd, chic and on the cutting edge. The clothes she created changed the way women looked and how they looked at themselves.”
By INGRID SISCHY

Coco Chanel wasn't just ahead of her time. She was ahead of herself. If one looks at the work of contemporary fashion designers as different from one another as Tom Ford, Helmut Lang, Miuccia Prada, Jil Sander and Donatella Versace, one sees that many of their strategies echo what Chanel once did. The way, 75 years ago, she mixed up the vocabulary of male and female clothes and created fashion that offered the wearer a feeling of hidden luxury rather than ostentation are just two examples of how her taste and sense of style overlap with today's fashion.

Gabrielle Bonheur "Coco" Chanel (19 August 1883 – 10 January 1971) was a pioneering French fashion designer whose modernist philosophy, menswear-inspired fashions, and pursuit of expensive simplicity made her an important figure in 20th-century fashion. She was the founder of the famous fashion brand Chanel. Her extraordinary influence on fashion was such that she was the only person in the field to be named on TIME Magazine's 100 most influential people of the 20th century. Chanel was born on 19 August 1883 in the small city of Saumur, Maine-et-Loire, France. She was the second daughter of traveling salesman Albert Chanel and Jeanne Devolle. Coco was born in a peasant village. Her birth was recorded the following day. Two employees of the hospice went to city hall and declared the child female. The hospice employees were illiterate, so when the mayor François Poitu wrote down the birth, no one knew how to spell Chasnel so the mayor improvised and recorded it without an "s," making it Chanel. This misspelling made the tracing of her roots almost impossible for biographers when Chanel later rose to prominence. Her parents married in 1883. She had five siblings: two sisters, Julie (1882-1913) and Antoinette (born 1887) and three brothers, Alphonse (born 1885), Lucien (born 1889) and Pierre (born and died 1891). In 1895, when she was 12 years old, Chanel's mother died of tuberculosis and her father left the family a short time later because he needed to work to raise his children. Because of his work, the young Chanel spent six years in the orphanage of the Roman Catholic monastery of Aubazine, where she learned the trade of a seamstress. School vacations were spent with relatives in the provincial capital, where female relatives taught Coco to sew with more flourish than the nuns at the monastery were able to demonstrate. When Coco turned eighteen, she left the orphanage, and the ambitious young girl took off for the town of Moulins to become a cabaret singer. While she failed to get steady work as a singer, it was here that she met rich, young French textile heir Étienne Balsan, to whom she soon became an acknowledged mistress, keeping her day job in a tailoring shop.

Balsan lavished on her the beauties of "the rich life:" diamonds, dresses and pearls. (Note that in France, mistresses have been acknowledged for centuries among the wealthy, though the members of the occupation, such as Chanel, were perhaps unfairly disparaged in private as upper-class prostitutes). While living with Balsan, Chanel began designing hats as a hobby, which soon became a deeper interest of hers. After opening her eyes, as she would say, Coco left Balsan and took over his apartment in Paris. In 1913, she opened up her very first shop which sold a range of fashionable raincoats and jackets. Situated in the heart of Paris it wasn't long before the shop went out of business and Chanel was asked to surrender her properties. This did not discourage her; it only made her more determined. During the pre-war era, Chanel met up with an estranged and former best friend of Étienne Balsan, Arthur "Boy" Capel, with whom she soon fell in love. With his assistance, Chanel was able to acquire the property and financial backing to open her second millinery shop in Brittany. Her hats were worn by celebrated French actresses, which helped to establish her reputation. In 1913, Chanel introduced women’s sportswear at her new boutique in Deauville, in the Rue Gontaut-Biron; Marthe, Countess de Gontaut-Biron (daughter of American diplomat John George Alexander Leishman), was Chanel's first aristocratic client. Her third shop and successor to her biggest store in France was located in Deauville, where more women during the World War I era came to accept her view that women were supposed to dress for themselves and not their men. Later in life, she concocted an elaborate false history for her humble beginnings. Chanel would steadfastly claim that when her mother died, her father sailed for America to get rich and she was sent to live with two cold-hearted spinster aunts. She even claimed to have been born in 1893 as opposed to 1883, and that her mother had died when Coco was two instead of twelve. All this was done to diminish the stigma that poverty, orphanhood, and illegitimacy bestowed upon unfortunates in nineteenth-century France. In 1920, she was introduced by ballet impresario Sergei Diaghilev to world famous composer Igor Stravinsky (who composed 'The Rite of Spring'), to whom she extended an offer for him and his family to reside with her. During this temporary sojourn it was rumoured that they had an affair. In 1925, Vera Bate Lombardi, reputedly the illegitimate daughter of the Marquess of Cambridge, became Chanel's muse, and also her liaison to a number of European royal families. Chanel established the English look based upon Lombardi's personal style. Lombardi also had the highest possible social connections. She introduced Chanel to her uncle, the Duke of Westminster, her cousin, the Duke of Windsor, and many other aristocratic families. In 1939, at the beginning of World War II, Chanel closed her shops. She believed that it was not a time for fashion. She lived in the Hôtel Ritz Paris on and off for more than 30 years, making the hotel her Paris home even during the German occupation. During that time she was criticized for having an affair with Hans Gunther von Dincklage, a German officer and Nazi spy who arranged for her to remain in the hotel.[2][5] She also maintained an apartment above her couture house at 31 rue Cambon and built Villa La Pausa in Roquebrune on the French Riviera. In 1943, after four years of professional separation, Chanel contacted Lombardi, who was living in Rome. She invited Lombardi to come to Paris and renew their work together. This was actually a cover for "Operation Modellhut", an attempt by Nazi spymaster Walter Schellenberg to make secret contact with Lombardi's relative Sir Winston Churchill. When Lombardi refused, she was arrested as a British spy by the Gestapo. Chanel was later arrested and charged as a collaborator, but avoided trial due to an intervention by the British Royal family. In 1945, she moved to Switzerland, eventually returning to Paris in 1954, the year she also returned to the fashion world. Her new collection did not have much success with the Parisians because of her relationship with the Nazis; however, it was much applauded by the British and Americans, who became her faithful customers. Coco had affairs with some of the most influential men of the time, but she never married. The reason may be found in her answer, when asked why she did not marry the Duke of Westminster: "There have been several Duchesses of Westminster. There is only one Chanel."

Film depictions Chanel Solitaire (1981), directed by George Kaczender and starring Marie-France Pisier, Timothy Dalton and Rutger Hauer. The American television movie Coco Chanel debuted on 13 September 2008 on Lifetime Television, starring Shirley MacLaine as a 70-year-old Chanel. Directed by Christian Duguay, the film also starred Barbora Bobulova as the young Chanel, Olivier Sitruk as Boy Capel, and Malcolm McDowell. The movie could be viewed as rewriting history for the Chanel company as it portrayed Coco's mistress life as love stories, left out her Nazi collaboration and her use of royal connections to avoid trial. The movie also left out possible comparisons between her and Mata Hari, (the famous spy of World War I who was also a dancer and courtesan to the rich). However, any such comparison to Mata Hari may be viewed favorably today as she was said by the Gestapo to be working for the British. There is also a film starring Audrey Tautou as the young Coco, titled Coco avant Chanel (Coco Before Chanel), which was released on 22 April 2009. Filming on the project began 15 September 2008. Audrey Tautou is the new spokeswoman of Chanel S.A Another film concerns the affair between Chanel and the composer Igor Stravinsky. Chosen to close the Cannes Film Festival of 2009, Coco Chanel & Igor Stravinsky is directed by Jan Kounen and stars Anna Mouglalis and Mads Mikkelsen. The film is based on the 2002 novel Coco & Igor by Chris Greenhalgh. Two more projects are said to be in the works: one directed by Daniele Thompson. Broadway production Coco Chanel was portrayed by Katharine Hepburn on Broadway in the 1969 musical Coco, with music by André Previn, lyrics and book by Alan Jay Lerner, musical direction by Robert Emmett Dolan, orchestration by Hershy Kay, and dance arrangements by Harold Wheeler. After 40 previews, the production opened on 18 December 1969 at the Mark Hellinger Theatre, where it ran for 329 performances. Hepburn was nominated for a Tony Award.

Chanel would not have defined herself as a feminist — in fact, she consistently spoke of femininity rather than of feminism — yet her work is unquestionably part of the liberation of women. She threw out a life jacket, as it were, to women not once but twice, during two distinct periods decades apart: the 1920s and the '50s. She not only appropriated styles, fabrics and articles of clothing that were worn by men but also, beginning with how she dressed herself, appropriated sports clothes as part of the language of fashion. One can see how her style evolved out of necessity and defiance. She couldn't afford the fashionable clothes of the period — so she rejected them and made her own, using, say, the sports jackets and ties that were everyday male attire around the racetrack, where she was climbing her first social ladders.

It's not by accident that she became associated with the modern movement that included Diaghilev, Picasso, Stravinsky and Cocteau. Like these artistic protagonists, she was determined to break the old formulas and invent a way of expressing herself. Cocteau once said of her that "she has, by a kind of miracle, worked in fashion according to rules that would seem to have value only for painters, musicians, poets." By the late '60s, Chanel had become part of what she once rebelled against and hated — the Establishment. But if one looks at documentary footage of her from that period, one can still feel the spit and vinegar of the fiery peasant woman who began her fashion revolution against society by aiming at the head, with hats. Her boyish "flapper" creations were in stark contrast to the Belle Epoque millinery that was in vogue at the time, and about which she asked, "How can a brain function under those things?" Something that Chanel can never be accused of is not using her brain. Her sharp mind is apparent in everything she did, from her savvy use of logos to her deep understanding of the power of personality and packaging, even the importance of being copied. And she was always quotable: "Fashion is not simply a matter of clothes. Fashion is in the air, born upon the wind. One intuits it. It is in the sky and on the road." It is fitting, somehow, that Chanel was often photographed holding a cigarette or standing in front of her famous Art Deco wall of mirrors. Fashion tends to involve a good dose of smoke and mirrors, so it should come as no surprise that Gabrielle Chanel's version of her life involved a multitude of lies, inventions, cover-ups and revisions. But as Prada said to me: "She was really a genius. It's hard to pin down exactly why, but it has something to do with her wanting to be different and wanting to be independent." Certainly her life was unpredictable. Even her death — in 1971, at the age of 87 in her private quarters at the Ritz Hotel — was a plush ending that probably would not have been predicted for Chanel by the nuns in the Aubazine orphanage, where she spent time as a ward of the state after her mother died and her father ran off. No doubt the sisters at the convent in Moulins, who took her in when she was 17, raised their eyebrows when the young woman left the seamstress job they had helped her get to try for a career as a cabaret singer. This stint as a performer — she was apparently charming but no Piaf — led her to take up with the local swells and become the backup mistress of Etienne Balsan, a playboy who would finance her move to Paris and the opening of her first hat business. That arrangement gave way to a bigger and better deal when she moved on to his friend, Arthur ("Boy") Capel, who is said to have been the love of her life and who backed her expansion from hats to clothes and from Paris to the coastal resorts of Deauville and Biarritz. One of her first successes was the loose-fitting sweater, which she belted and teamed with a skirt. These early victories were similar to the clothes she had been making for herself — women's clothes made out of Everyman materials such as jersey, usually associated with men's undergarments. Throughout the '20s, Chanel's social, sexual and professional progress continued, and her eminence grew to the status of legend. By the early '30s she'd been courted by Hollywood, gone and come back. She had almost married one of the richest men in Europe, the Duke of Westminster; when she didn't, her explanation was, "There have been several Duchesses of Westminster. There is only one Chanel." In fact, there were many Coco Chanels, just as her work had many phases and many styles, including Gypsy skirts, over-the-top fake jewelry and glittering evening wear — made of crystal and jet beads laid over black and white georgette crepe — not just the plainer jersey suits and "little black dresses" that made her famous. But probably the single element that most ensured Chanel's being remembered, even when it would have been easier to write her off, is not a piece of clothing but a form of liquid gold — Chanel No. 5, in its Art Deco bottle, which was launched in 1923. It was the first perfume to bear a designer's name. One could say perfume helped keep Chanel's name pretty throughout the period when her reputation got ugly: World War II. This is when her anti-Semitism, homophobia (even though she herself dabbled in bisexuality) and other base inclinations emerged. She responded to the war by shutting down her fashion business and hooking up with Hans Gunther von Dincklage, a Nazi officer whose favors included permission to reside in her beloved Ritz Hotel. Years later, in 1954, when she decided to make a comeback, her name still had "disgraced" attached to it. Depending on the source, Chanel's return to the fashion world has been variously attributed to falling perfume sales, disgust at what she was seeing in the fashion of the day or simple boredom. All these explanations seem plausible, and so does Karl Lagerfeld's theory of why, this time around, the Chanel suit met such phenomenal success. Lagerfeld — who designs Chanel today and who has turned the company into an even bigger, more tuned-in business than it was before — points out, "By the '50s she had the benefit of distance, and so could truly distill the Chanel look. Time and culture had caught up with her." In Europe, her return to fashion was deemed an utter flop at first, but Americans couldn't buy her suits fast enough. Yet again Chanel had put herself into the yolk of the zeitgeist. By the time Katharine Hepburn played her on Broadway in 1969, Chanel had achieved first-name recognition and was simply Coco. Ingrid Sischy is editor in chief of Interview and a contributing editor to Vanity Fair