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Young Mens Fashion Biography

Source:- Google.com.pk
In 1918, Chanel was able to acquire the entire building at 31 rue Cambon situated in one of the most fashionable districts of Paris. In 1921, she opened what may be considered an early incarnation of the fashion boutique, featuring clothing, hats, and accessories later expanded to offer jewelry and fragrance. By 1927, Chanel owned an expanse of five properties on the rue Cambon, encompassing buildings numbered 23 through 31.
In the spring of 1920 (approximately May), Chanel was introduced to the composer Igor Stravinsky by Sergei Diaghilev, impresario of the Ballets Russes. During the summer, Chanel discovered that the Stravinsky family was seeking a place to live. She invited them to her new home, "Bel Respiro," in the Paris suburb of Garches until they could find a more suitable residence.They arrived at "Bel Respiro" during the second week of September and remained until May 1921.Chanel also guaranteed the new (1920) Ballets Russes production of Stravinsky's Le Sacre du Printemps (The Rite of Spring) against financial loss with an anonymous gift to Diaghilev, said to be 300,000 francs.
In 1922, at the Longchamps races, Théophile Bader, founder of the Paris Galeries Lafayette, introduced Chanel to businessman Pierre Wertheimer. Bader was interested in inaugurating the sale of the Chanel No. 5 fragrance in his department store. In 1924, Chanel made an agreement with the Wertheimer brothers, Pierre and Paul, directors of the eminent perfume and cosmetics house Bourgeois since 1917, creating a corporate entity, "Parfums Chanel." The Wertheimers agreed to provide full financing for production, marketing and distribution of Chanel No. 5. The Wertheimers would receive seventy percent of the profits, and Théophile Bader a twenty percent share. For ten percent of the stock, Chanel licensed her name to Parfums Chanel and removed herself from involvement in all business operations.Displeased with the arrangement, Chanel worked for more than twenty years to gain full control of Parfums Chanel. She proclaimed that Pierre Wertheimer was "the bandit who screwed me".
One of Chanel's longest and enduring associations was with Misia Sert, a notable member of the Parisian, bohemian elite and wife of Spanish painter José-Maria Sert. It is said that theirs was an immediate bond of like souls, and Misia was attracted to Chanel by "her genius, lethal wit, sarcasm and maniacal destructiveness, which intrigued and appalled everyone". Both women, convent bred, maintained a friendship of shared interests, confidences and drug use. By 1935, Chanel had become a habitual drug user, injecting herself with morphine on a daily basis until the end of her life.According to Chandler Burr's The Emperor of Scent, Luca Turin related an apocryphal story in circulation that Chanel was "called Coco because she threw the most fabulous cocaine parties in Paris".
The writer Colette, who moved in the same social circles as Chanel, provided a whimsical description of Chanel at work in her atelier, which appeared in "Prisons et Paradis" (1932). "If every human face bears a resemblance to some animal, then Mademoiselle Chanel is a small black bull. That tuft of curly black hair, the attribute of bull-calves, falls over her brow all the way to the eyelids and dances with every maneuver of her head.
Chanel was the mistress of some of the most influential men of her time, but she never married. She had significant relationships with the poet Pierre Reverdy and the illustrator and designer Paul Iribe. After her romance with Reverdy ended in 1926, they still maintained a friendship that lasted some forty years. It is postulated that the legendary maxims attributed to Chanel and published in periodicals were crafted under the mentorship of Reverdy — a collaborative effort. "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 … After correcting the handful of aphorisms that Chanel wrote about her métier, Reverdy added to this collection of “Chanelisms” a series of thoughts of a more general nature, some touching on life and taste, others on allure and love." Her involvement with Iribe was a deep one until his sudden death in 1935. Iribe and Chanel shared the same reactionary politics, Chanel financing Iribe's monthly, ultra-nationalist and anti-republican newsletter, Le Témoin, which fueled an irrational fear of foreigners and preached anti-Semitism. In 1936, one year after Le Témoin stopped publication, Chanel veered to the opposite end of the ideological continuum by financing Pierre Lestringuez's radical left-wing magazine Futur.

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