Latest / Who Did What Now With Katie Charlwood / 203. Coco Chanel - The Fascist Fashionista - From the Vault

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203. Coco Chanel - The Fascist Fashionista - From the Vault · Who Did What Now With Katie Charlwood

0:12
Speaker 1: Hello, delicious friends, and welcome to Who Did What Now?
0:16
Speaker 1: The history podcast that is not your history class with me,
0:20
Speaker 1: your host Katie Charlewood, history harlot and reader of books,
0:25
Speaker 1: Ray Ducks. Now, speaking of books, I have never been
0:29
Speaker 1: so justified in my love of physical media as I
0:32
Speaker 1: have as of late. You've got video games that people
0:36
Speaker 1: have purchased like removed from the system. You have cloud
0:41
Speaker 1: storage that you were told was going to be free
0:43
Speaker 1: is now being taken, and fucking AI companies are destroying
0:49
Speaker 1: rare and antiq invintage books to feed their machines to
0:53
Speaker 1: produce aislop. And as anyone who has watched My socials, no,
0:59
Speaker 1: like you'll see in my bedroom, I have my color
1:02
Speaker 1: coded bookcase, which is just one of the cases I have. Yeah,
1:08
Speaker 1: there's more, there's more, And I have a book trolley,
1:11
Speaker 1: which should surprise absolutely no one at that downstairs because
1:15
Speaker 1: I'm always there's just piles of books in my house
1:17
Speaker 1: as well, just for when I'm doing research. And I
1:21
Speaker 1: was looking up a case because I was going to
1:23
Speaker 1: do like a historical crime thing, and I was looking
1:25
Speaker 1: at it online, and so I was looking up these
1:28
Speaker 1: digital copies and because I had thought about it, before
1:32
Speaker 1: and previously, like five six years ago, I still had
1:35
Speaker 1: my handwritten notes of like important details because sometimes if
1:39
Speaker 1: something goes missing and you haven't saved it, you kind
1:43
Speaker 1: of have to like type in all the information to
1:47
Speaker 1: try and find it. And the interesting thing was is
1:50
Speaker 1: that the nationality of the individuals who were, you know,
1:57
Speaker 1: blamed for this crime very chain changed from then to now,
2:02
Speaker 1: and I think it was specifically done in a detrimental aspect.
2:09
Speaker 1: And so for me, I was like, oh, thank Christ,
2:12
Speaker 1: I had my original notes because this has changed, and
2:14
Speaker 1: it just shows you how easy it is to sort
2:18
Speaker 1: of alter and edit and perhaps even manipulate the data.
2:21
Speaker 1: And so I was like, oh goodness, thank god I
2:23
Speaker 1: have my physical copies of books, which is why I
2:25
Speaker 1: like the old books. Now it's a redux this week
2:30
Speaker 1: for everybody, because I say this week there will be more.
2:35
Speaker 1: You'll be getting extra stuff this month, specifically because I'm
2:39
Speaker 1: covering so many things and I just haven't been able
2:44
Speaker 1: to get everything done in time. It's just been with
2:48
Speaker 1: the bank holiday and everything that's been happening over here.
2:50
Speaker 1: I just haven't had time to get everything together because
2:55
Speaker 1: this month, the month of August, because everyone is always
2:58
Speaker 1: asking me questions about like World War two and the
3:01
Speaker 1: Holocaust and stuff like that. I was like, well, you
3:02
Speaker 1: know what, I will spend this month answering them, because
3:07
Speaker 1: that's it seems to be a thing that I've just
3:09
Speaker 1: started to do, is I will take this one month
3:11
Speaker 1: and I will answer these damn questions. And there was
3:14
Speaker 1: over four and a half thousand questions. Luckily, some of
3:18
Speaker 1: those questions were the same one, just phrased differently, and
3:22
Speaker 1: there were a few just like statements and dog whistles
3:24
Speaker 1: and things like that. But it gave me a really
3:28
Speaker 1: good place in which to work from. So like the
3:31
Speaker 1: first I think week and a half are basically covering
3:33
Speaker 1: sort of the Holocaust aspect of it, and then we're
3:36
Speaker 1: branching into like different parts of World War two, and
3:40
Speaker 1: so it's all going to be covered within that. So
3:45
Speaker 1: because of that, I thought, well, you know what, let
3:47
Speaker 1: me share this one of my favorite episodes to write, actually,
3:52
Speaker 1: because I've been obsessed with sharing this because we have
3:58
Speaker 1: this idea and this image of of Coco Chanel, of
4:02
Speaker 1: this sort of glamorous she invented, you know, the little
4:06
Speaker 1: black dress. She was a purefumier. She was just like
4:12
Speaker 1: like it's interesting, like she's cool up until a point
4:16
Speaker 1: and then and then she's very not cool. Because I
4:19
Speaker 1: hate to break it to you everybody, but Cooko Chanel
4:23
Speaker 1: was a Nazi bitch, and up until that point, you're
4:26
Speaker 1: like you're doing okay in life, and then Nazi, which
4:31
Speaker 1: is for me, I feel a turning point and something
4:35
Speaker 1: I don't really appreciate. But I thought, you know what,
4:39
Speaker 1: seeing as many of you might not have heard this
4:41
Speaker 1: one before, I'm going to reshare Coco Chanel the collaborator,
4:49
Speaker 1: or as I like to call her, the fascist fashionist stuff,
4:52
Speaker 1: which I thought was really good alliteration. But without further ado,
4:57
Speaker 1: I will let you listen to this because I've been
4:59
Speaker 1: chatting for a while now. I'm sorry, but I know
5:04
Speaker 1: what you're thinking. You're thinking, Katie, please quit your jibber
5:08
Speaker 1: jabber in fact me, in fact you I will. But
5:13
Speaker 1: first we've got to get our source on. Oh and also,
5:16
Speaker 1: the next episode is actually about a serial killer in
5:19
Speaker 1: Nazi Germany, so and it's coming soon. Like by the
5:23
Speaker 1: time you have this, you will almost have the next one. Okay, wonderful,
5:28
Speaker 1: thank you, but yes, let's get our source on. Our
5:33
Speaker 1: sources are Chanell into her world. Friends, Fashion and Fame
5:39
Speaker 1: by Edmond Charles Roux. Coco Chanel, An Intimate Life by
5:45
Speaker 1: Lisa Chenney, Sleeping with the Enemy couco Chanell. Nazi Agent
5:52
Speaker 1: by hal Vaughan. Mademoiselle Chanelle by C. W. Gordner, coco Chanell,
6:04
Speaker 1: The Legend and the Life by Justine Picadi. Mademoiselle coco
6:10
Speaker 1: Chanel and the Pulse of History by Rhonda K. Garlic.
6:15
Speaker 1: Coco Chanell From a Fashion Icon to Nazi Agent by
6:19
Speaker 1: Jeffrey Jones and Emily Granjean. And of course we have
6:24
Speaker 1: our favorites Biography dot com and History dot Com. Are
6:30
Speaker 1: you sitting comfortably good? Then let's begin. As some of
6:35
Speaker 1: you know, I have a special special place in my
6:39
Speaker 1: heart for harlots, whores, hussies and strumpets. And the thing
6:46
Speaker 1: is about the women who have these labels. Generally, the
6:50
Speaker 1: reason they make the choices they make, it's because they
6:55
Speaker 1: have to, because there are no other options, because they
6:58
Speaker 1: do what is necessary, and quite a lot of the time,
7:03
Speaker 1: like myself, you'll find yourself rooting for these badass women
7:08
Speaker 1: as you fucking should. And you're probably gonna feel that
7:13
Speaker 1: way about Coco Chanel up until the midpoint of this tale,
7:19
Speaker 1: at which point you're going to get very angry. I mean,
7:24
Speaker 1: if you have a soul but you are not going
7:28
Speaker 1: to be on her side, you will be. You'll be
7:30
Speaker 1: backing her up until a certain point, and then this
7:34
Speaker 1: shit's gonna hit the fan, and choices are made, not
7:40
Speaker 1: necessarily the best ones, you know, for humanity. But we're
7:45
Speaker 1: gonna get there. But I guess we should start from
7:48
Speaker 1: the beginning, and so we shall. But one more thing
7:53
Speaker 1: before we do. I would like to formally apologize to
7:56
Speaker 1: any French or French speaking people who have to hear
8:00
Speaker 1: me pronounce words with this accent, because I'm probably gonna
8:04
Speaker 1: fuck up a bunch of them, Like absolutely, But let's
8:09
Speaker 1: just get into it. Gabrielle Bonur Chanelle was born on
8:13
Speaker 1: the nineteenth of August eighteen eighty three. We have a birthday, everybody,
8:20
Speaker 1: We have a location. We have a date, not just
8:24
Speaker 1: a year, an actual date. I mean it is the
8:27
Speaker 1: eighteen eighties, so you know whatever, but still look at
8:32
Speaker 1: this progress. Come on, okay. So Chanelle is born to
8:40
Speaker 1: Albert Chanelle and Eugenie Geene de vos So. She's basically
8:47
Speaker 1: known as Gene for most of her life, she's never
8:50
Speaker 1: really known as Eugenie or anything else. So she is
8:54
Speaker 1: born in a poor house in Saumur. It's basically this
9:03
Speaker 1: poor house run by nuns. None nuns, nuns, it's always
9:10
Speaker 1: those bloody nuns. So she is born in this poor
9:15
Speaker 1: house to Albert and Jean. Albert is a traveling salesman,
9:22
Speaker 1: so he does door to door sales effectively, he is
9:25
Speaker 1: selling work clothes and underwear like undergarments, that is his thing,
9:33
Speaker 1: and so he would travel around. He's very nomadic who
9:36
Speaker 1: even though he is, you know, going around the place,
9:40
Speaker 1: still manages to get Jean pregnant quite a lot. See
9:45
Speaker 1: Gabrielle here. She is the second child born to the
9:49
Speaker 1: couple this year, like you know, two in one year.
9:55
Speaker 1: That's Irish twins. You might be in France, but those
9:58
Speaker 1: are Irish twins. So her sister Julie is her older sister,
10:03
Speaker 1: and a year later, Albert and Jean get married. So yeah,
10:10
Speaker 1: she's born out of wedlock. So in this day and age,
10:16
Speaker 1: Gabrielle donu Chanel was officially a bastard baby born in
10:23
Speaker 1: a poor house. And after she is born, her mother
10:27
Speaker 1: Jean is so ill that she cannot go and sign
10:31
Speaker 1: the birth register, and Albert he's off Gallivantan selling undergarments
10:37
Speaker 1: of no particular description. I could not find out exactly
10:42
Speaker 1: what he sold, so I can only assume it's hosiery
10:46
Speaker 1: and corsets or maybe whatever, old fashioned bloomers, maybe bloomers.
10:52
Speaker 1: It could be bloomers. But he's not around. And so
10:57
Speaker 1: her name, her surname, actually gets registered incorrect, so instead
11:02
Speaker 1: of being Chanel, it's Chasnel. And it's because of this
11:08
Speaker 1: that we actually found out about her original upbringing. So
11:13
Speaker 1: when Chanelle makes it big, she bullshit, so she says
11:17
Speaker 1: she's born ten years later than she is, and then
11:20
Speaker 1: she basically says that she had a glamorous and wonderful upbringing.
11:25
Speaker 1: So yeah, in eighteen eighty four, Jeanne and Albert they
11:30
Speaker 1: get married. Effectively, her family banded together. United was the
11:37
Speaker 1: term newsed most often. They got together to pay for Albert. Now,
11:44
Speaker 1: I don't know if this meant there was some kind
11:46
Speaker 1: of dowry involved, or whether they just offered general financial support,
11:52
Speaker 1: but I suppose they just didn't want Jeanne to be
11:55
Speaker 1: an unmarried mother of two children. And so yes, here
12:02
Speaker 1: we go. They get married. The couple then go on
12:06
Speaker 1: to have six children, well, four more children, So you
12:10
Speaker 1: have Juliet, Gabrielle and Franz Intoinnit, Lucien and Augustine and
12:17
Speaker 1: Augustine or Augustin one of those he only lives till
12:22
Speaker 1: six or seven months. He doesn't make it past infancy.
12:26
Speaker 1: So this family all together live in this one room lodging.
12:33
Speaker 1: So they're lodging in one room they're renting, right, they
12:36
Speaker 1: don't even own a one roomed building. They are renting
12:42
Speaker 1: one room in a building. And they're all crammed together
12:45
Speaker 1: in this little town preve Lagallerte. I have probably mispronounced.
12:51
Speaker 1: Sorry French people. I'm trying my best, and they are
12:57
Speaker 1: not doing well financially. Clearly they are well how do
13:02
Speaker 1: I put this dirt poor broke as shit right, So, yes,
13:08
Speaker 1: things are not going well, and they're about to get
13:11
Speaker 1: fucking worse because when she turns eleven years old, her mother, Jean,
13:18
Speaker 1: she dies, and her dad just cannot support the full
13:23
Speaker 1: family on his own, or he just can't handle it.
13:27
Speaker 1: Not surprised by any stretch of the imagination. Albert not surprised,
13:32
Speaker 1: So he sends his boys away to become farm hands,
13:36
Speaker 1: so they're farm laborers. He's like, that's it, You've got jobs.
13:40
Speaker 1: So they must be like much much younger, because you've
13:45
Speaker 1: got like Gabrielle, she's eleven, she's the second oldest, and
13:51
Speaker 1: depending on the time of year, you know, Julie could
13:57
Speaker 1: also be eleven, and then the rest of the kids,
14:00
Speaker 1: they're gonna be just decreasing from there. So these are
14:04
Speaker 1: young children and they're being sent away to be farm
14:09
Speaker 1: hands like that is not even remotely an easy task,
14:15
Speaker 1: but off they go. The girls, however, they were sent
14:19
Speaker 1: away to the incredibly strict convent at Obbozone, which was
14:24
Speaker 1: effectively it was an orphanage run by some of the
14:27
Speaker 1: scariest people in the world. You guessed it. The fucking
14:31
Speaker 1: nuns are at it again. So the Congregation of the
14:35
Speaker 1: Sacred Heart of Mary, and the whole point of this
14:38
Speaker 1: orphanage is to take care of abandoned and orphaned Catholic girls,
14:45
Speaker 1: or at least people they can then turn Catholic. I mean,
14:47
Speaker 1: it's France, basically everyone's Catholic, and surprise, surprise, it's fucking
14:53
Speaker 1: horrific there. It is severe and stark and it is
14:58
Speaker 1: absolutely awful, but Fortunately this was where Chanelle learned to sew. Unfortunately,
15:09
Speaker 1: at the age of eighteen, like many many children in
15:12
Speaker 1: the system, Chanell ages out and she gets well, she
15:18
Speaker 1: has to leave, So Julie would have already been sent out,
15:22
Speaker 1: probably earlier in the year, but I'm not actually sure
15:26
Speaker 1: where Julie went to. AnyWho, Chanell moves to a boarding
15:31
Speaker 1: house for Catholic girls in Mulan. So there you have it,
15:37
Speaker 1: abandoned by her father, sent off to an orphanage, aged
15:41
Speaker 1: out of the orphanage, and having to live in a
15:43
Speaker 1: Catholic boarding house. Well, she gets a job as a seamstress,
15:49
Speaker 1: so that is her day job. But Chanelle she wants
15:53
Speaker 1: more more from this, so she moonlights at a cabaret.
15:59
Speaker 1: Something that she really did have going for her was
16:01
Speaker 1: her liks. So she was young and she was attractive,
16:06
Speaker 1: and she manages to get a week gig in La Rotonde,
16:11
Speaker 1: which is a pavilion in Molan. So she's singing at
16:15
Speaker 1: this cave concert and this week cabaret, and she would
16:20
Speaker 1: sing in between the main acts. So she was like
16:24
Speaker 1: a wave filler, you know nowadays you'd have like a
16:27
Speaker 1: comic or something. They probably did have a comic actually
16:29
Speaker 1: and other such fun things. But she would come out
16:33
Speaker 1: and sing in between the main acts, so she wasn't
16:37
Speaker 1: paid per se by the cabaret. She would get paid
16:41
Speaker 1: in tips. So whenever she would perform in between the
16:44
Speaker 1: big acts like a wee dish, would be going a
16:46
Speaker 1: round like a collection plate and people would put money
16:51
Speaker 1: in for her. So this particular cabaret was oft frequented
16:58
Speaker 1: by cavalry officers, so these young military men would go
17:03
Speaker 1: in and watch her perform and listen to her sing
17:07
Speaker 1: and perhaps even dere have a conversation with her between performances.
17:15
Speaker 1: So yeah, she went from one collection played to another,
17:18
Speaker 1: one way or another. Really, So it is here where
17:24
Speaker 1: Chanelle gets her nickname. She tries to say it's because
17:28
Speaker 1: she sang a song Coco co cop but no, no,
17:32
Speaker 1: it actually comes from the word cocotte, which means kept
17:36
Speaker 1: women in another phrase for that could also be lady of
17:41
Speaker 1: the night. Basically, she survived by the funding of men.
17:50
Speaker 1: Basically the idea is that Coco Chanell was a sugar baby,
17:54
Speaker 1: and frankly cannot really blame her at this point. You
17:58
Speaker 1: know what, it's probably I think still the Victorian era.
18:02
Speaker 1: You do you, babe, you know what I mean. And
18:06
Speaker 1: she was very very popular by all accounts with the
18:11
Speaker 1: military men that visited Laodon, very popular. Indeed, all I'm saying,
18:21
Speaker 1: just putting it out there, I think that Mademoiselle Chanelle
18:26
Speaker 1: clearly has a type. So when she's twenty three, she
18:31
Speaker 1: moves to VC for the summer season. V She, if
18:35
Speaker 1: you don't know, is not just a skincare brand. I
18:38
Speaker 1: think it does make up too. I'm fairly certain I
18:40
Speaker 1: have V She Foundation, But even their lightest shade that
18:45
Speaker 1: they had available doesn't match my skin tone because I'm
18:49
Speaker 1: so incredibly pale, like I'm naturally a pale shade of blue.
18:52
Speaker 1: It takes me like a week of sunbathing to become white.
18:56
Speaker 1: So V She is this spa resort and had everything.
19:02
Speaker 1: It had concert halls and cafes and theaters and cabarets
19:06
Speaker 1: and everything that went with it. And Chanelle she has
19:10
Speaker 1: stars in her eyes. She is ready for this. And
19:15
Speaker 1: as we said before, Chanelle is young and pretty. But
19:21
Speaker 1: her voice was I'm gonna go with mediocre, like it's
19:29
Speaker 1: less than great, you know, good but not quite. They're
19:35
Speaker 1: not the standard of the VC spa resort and so
19:40
Speaker 1: she gets auditioned after audition because you know, she's gorgeous,
19:45
Speaker 1: she's attractive, she's young, but she just doesn't have, you know,
19:51
Speaker 1: the talent to be there, you know. So after you know,
19:57
Speaker 1: failing audition, after audition, she it's a job as a
20:01
Speaker 1: water girl. So the vch water it has like minerals
20:05
Speaker 1: in it, and it's supposed to be like regenerative and amazing.
20:08
Speaker 1: It has curative mineral properties. Mmm. But anyway, she gets
20:15
Speaker 1: a job as a water girl at the Grand Criel
20:20
Speaker 1: and when the VC summer season is over, she returns
20:23
Speaker 1: back to Mulon and Latonde and it's at this point
20:29
Speaker 1: it becomes crystal clear to her that she is not
20:34
Speaker 1: in fact destined for the stage. So she needs to
20:38
Speaker 1: figure out a new game plan. She needs a man
20:42
Speaker 1: like She's a student enough to know that in this
20:44
Speaker 1: world she needs that in this we don't judge. At
20:49
Speaker 1: this point. It's nineteen oh six and she's a woman
20:52
Speaker 1: who grew up in abject poverty. This woman is in
20:56
Speaker 1: the turn of the century, broke as shit fucked her
21:00
Speaker 1: round from power to post, abandoned, and she needs to survive.
21:07
Speaker 1: So she goes fuck this for a game of soldials.
21:10
Speaker 1: She needs a man, a rich man preferably, because here's
21:14
Speaker 1: the thing. If you have ever been dark poor in
21:18
Speaker 1: your life, if you have ever lived in any moment
21:21
Speaker 1: of poverty, that will stick with you and you will
21:24
Speaker 1: not want to go back there again. Like that is
21:28
Speaker 1: right in the back of your brain. There's a panic
21:30
Speaker 1: button there. So you know, yes, at this point we're
21:36
Speaker 1: still on Channel's side. Good for her. You do what
21:39
Speaker 1: you need to do, honey. So she meets this ex
21:43
Speaker 1: cavalry officer and what do you know, textile air Etian Balson,
21:50
Speaker 1: and she becomes his mistress. Again, good for her. You
21:57
Speaker 1: get with that rich man and you take his money.
21:59
Speaker 1: So Ochanell gets with Barson and they move into his
22:04
Speaker 1: chateau Royal U. I have pronounced it incorrectly, And so
22:11
Speaker 1: she moves in Mahattan, thus usurping his courtisan Emilien Derincion.
22:18
Speaker 1: She gets kicked to the curb, as is the way,
22:21
Speaker 1: you know, It's just how thing goes. But she manages
22:24
Speaker 1: to find something else for herself. So Coco Chanel is
22:30
Speaker 1: the mistress the courtisan to Textile air Etienne Barson, and
22:36
Speaker 1: they live at his chateau for three years and they
22:40
Speaker 1: live it up. Let me tell you, there is a
22:43
Speaker 1: champagne lifestyle. There's diamonds and pearls and fashion. It is
22:49
Speaker 1: self indulgent. There's decadence, there is parties, there is satisfaction.
22:56
Speaker 1: Like remember how Anthony and Clear had this big, indulgent
23:02
Speaker 1: soiree lifestyle. These two do. They are living it up.
23:08
Speaker 1: Balsan is not faithful. Are we surprised? Absolutely fucking not.
23:14
Speaker 1: This is a man and also a man from the past,
23:17
Speaker 1: a rich man from the past. There's no stopping them. Really,
23:22
Speaker 1: So after those three years, she begins an affair with
23:28
Speaker 1: his buddy. Now again, this is nineteen o eight. She's
23:33
Speaker 1: a woman, and you know she allegedly replaced a courtisan,
23:40
Speaker 1: meaning that she could very well easily be replaced. That's
23:44
Speaker 1: just how things go. I mean, clearly there was no
23:47
Speaker 1: bro code going on here. But she starts seeing this
23:50
Speaker 1: other fella. I mean, he's not faithful. Why should she be.
23:54
Speaker 1: This girl has no time for your double standards, as
23:57
Speaker 1: she should. So she starts this affair with Captain Arthur
24:02
Speaker 1: Edward Capel, who was an English aristocrat. And so these
24:07
Speaker 1: two men start vying for her affections, right and I
24:12
Speaker 1: don't know what it is about Chanelle. Was she charming?
24:15
Speaker 1: Did she have an enchanting vagina? How's to say? All
24:19
Speaker 1: I know is these two guys start a bidding war.
24:23
Speaker 1: Like she is even quoted as saying, time for my
24:26
Speaker 1: terrible French impression. Here we go, do gentle men were
24:30
Speaker 1: outbidding for my little buddy. I mean, that's a weird
24:34
Speaker 1: way to put it, but yeah, so there is a
24:37
Speaker 1: bidding war happening for Chanelle's affections. And Chanelle during this time,
24:44
Speaker 1: she has become like a qualified milliner. So she makes hats,
24:49
Speaker 1: and she starts making hats and designing hats, and she
24:52
Speaker 1: opens up this little boutique on the Lotule campbo in
24:55
Speaker 1: Paris called Chanelle Mude and it only sells hats, just
25:01
Speaker 1: a hat shop. And about two years later, like this
25:05
Speaker 1: famous actress Gabrielle Dozierte, she wears her hat to this
25:08
Speaker 1: play in all of her performances, and next thing you know,
25:12
Speaker 1: sales are booming, skyrocketing. Everybody wants a Chanel hat. She becomes,
25:19
Speaker 1: you know, the designer of the moment. So everything is
25:23
Speaker 1: coming up Millhouse. And the following year she opens up
25:28
Speaker 1: another boutique, and this is financed by Captain Arthur Capel,
25:35
Speaker 1: and it's in Doville, and you know she's expanding, she's
25:41
Speaker 1: moving out there and she starts designing these casual clothes,
25:47
Speaker 1: leisure wear in sport. Well here's the thing. Her casual
25:52
Speaker 1: and maybe your casual or my casual are very different
25:57
Speaker 1: types of casual. Like this is rich people casual, not
26:01
Speaker 1: you know, going to the shops in my lounge wear casual. No,
26:05
Speaker 1: this is this is I shall wear my casual tea
26:10
Speaker 1: dress casual. You know what I mean? Says me, who's
26:14
Speaker 1: currently recording in a Powerpuff Girls snuggie. So in this
26:18
Speaker 1: boutique she is selling hats, obviously, but she's also got
26:23
Speaker 1: jumpers or sweaters to my American followers, sweaters, and she
26:29
Speaker 1: does this thing called the sailor blouse, which is known
26:31
Speaker 1: as La Marigner. Business is going well, but then there's
26:35
Speaker 1: a problem. World War One breaks out nineteen fourteen, and
26:40
Speaker 1: there is a lack of fabric pret Janelle, being the
26:44
Speaker 1: engine out of a little bitch that she is, she
26:48
Speaker 1: decides to use try cut and jersey. So these fabrics
26:54
Speaker 1: were generally used for men's underwear. They were affordable, basically cheap,
26:59
Speaker 1: and she can get access to them because they're not
27:02
Speaker 1: used for military uniforms or anything necessary like that. So
27:08
Speaker 1: this really plays into her and she does this really
27:11
Speaker 1: fucking smart move where she hires her auntie and her sister.
27:17
Speaker 1: You're thinking, that's good, She's supporting family. So her paternal
27:22
Speaker 1: aunt is basically very similar in age to like her
27:26
Speaker 1: and her sisters. So Adrienne, her auntie and her sister Antoinette,
27:33
Speaker 1: she gets them to wear her designs and to walk
27:35
Speaker 1: around the town of Duville. It's Indieville, Chanelle and Deville.
27:43
Speaker 1: So they would saunter through the town of Deville wearing
27:47
Speaker 1: the lovely garments designed by Chanelle and basically show them
27:52
Speaker 1: off to everybody living there, because I mean, it's the
27:55
Speaker 1: best form of advertisement at the time, because ooh, where
27:58
Speaker 1: did you get that lovely dress? Oh? Vum Chanel. But
28:03
Speaker 1: a lot of the people that were coming into de Ville,
28:07
Speaker 1: they were fleeing Paris, So the trendy Parisians they wanted
28:12
Speaker 1: nice clothes and where were they gonna go? Well, Voila
28:18
Speaker 1: and Chanel. Her business just keeps growing. So she opens
28:22
Speaker 1: up this new business and bear its on the good desk,
28:28
Speaker 1: and it's not really a storefront per se. Well it's
28:31
Speaker 1: not a store front at all because they don't put
28:34
Speaker 1: it in a store front. They put it in a
28:35
Speaker 1: fucking villa opposite the casino, which I mean, you can't
28:41
Speaker 1: deny that's a really good move. I mean that's just smart.
28:44
Speaker 1: So the place is full of these mainly rich Spaniards
28:50
Speaker 1: and you have people that are fleeing one war or
28:52
Speaker 1: the other and they just need or they want because
28:56
Speaker 1: they're rich people, they want nice things, right, they do.
29:00
Speaker 1: They live in luxury. They just can't help themselves, right,
29:03
Speaker 1: it's just the way they are, so the wealthy, they
29:07
Speaker 1: still want to be stylish, but this is wartime, so
29:10
Speaker 1: clothes also have to be practical, so like the jersey
29:13
Speaker 1: fabric and all that stuff. It just fucking makes sense
29:17
Speaker 1: because a lot of the trendy Parisians they're working in
29:21
Speaker 1: the hospital because the men are away at war and
29:23
Speaker 1: the women are doing their part. That's just you know
29:25
Speaker 1: how it was. And this beer it's locale. It is
29:30
Speaker 1: so absolutely profitable. It is raking in the cash, like
29:36
Speaker 1: she was able to pay back car pels original investment, right,
29:42
Speaker 1: I mean, she doesn't want to be beholden to no man.
29:45
Speaker 1: I can appreciate that. I can understand that. So she
29:49
Speaker 1: pays him back his original investment. But she still, you know,
29:53
Speaker 1: stays his lover, like she was hoping that they would
29:56
Speaker 1: get married, but he was not about to marry some
30:00
Speaker 1: courtisan like it wasn't gonna happen. It just wasn't. And
30:05
Speaker 1: at some point around about the beer it's thing going great,
30:10
Speaker 1: she meets Grand Duke Dmitri Pavlovitch of Russia. They too
30:15
Speaker 1: begin a love affair. And you can understand this because
30:19
Speaker 1: well she knows this do ain't gonna marry her. She's
30:23
Speaker 1: looking for her next, you know security. And the thing
30:27
Speaker 1: about carpl or Carpel as I keep calling him, eh,
30:30
Speaker 1: is that they are still stooping, you know, even when
30:36
Speaker 1: he marries Lady Diana Wyndham in nineteen eighteen, like they're
30:40
Speaker 1: continuing this affair. I'm not entirely sure if he got
30:43
Speaker 1: married before or after the end of the war, but
30:47
Speaker 1: he got married anyway. Now nineteen nineteen comes along, war
30:52
Speaker 1: is over and Chanell registers as a kuteriier and she
30:57
Speaker 1: sets up her Mason deu couteur lui. But it's not
31:05
Speaker 1: all funny games, because that very year when she's set
31:10
Speaker 1: up as a Catillia, Arthur Carpole is involved in a
31:15
Speaker 1: car accident and he dies, and she is very upset
31:20
Speaker 1: about the whole thing, Like she even says that her heart,
31:25
Speaker 1: a part of it died that day, Like she very
31:28
Speaker 1: much grieved the loss of him. But you know what
31:31
Speaker 1: they say, nothing gets you over the last one like
31:34
Speaker 1: the next one. So nineteen twenty comes along and she
31:38
Speaker 1: meets the Russian composer, egress To Revenensky. So the Stravinsky
31:42
Speaker 1: family they have fled, you know, Soviet Russia. There's been
31:46
Speaker 1: a revolution. They're not happy about it. They are getting
31:48
Speaker 1: the hell at a dodge. Now Stravinsky he is the
31:53
Speaker 1: composer for the bally rus So, the Russian Ballet, and
31:59
Speaker 1: so they fled, and she put the family up in
32:02
Speaker 1: her house for seven months I think, in total, which
32:08
Speaker 1: you know, fair play, call a spade a spad. Good
32:11
Speaker 1: on you, Chanel. And it's here where negotiations start happening.
32:16
Speaker 1: She ends up donating three hundred thousand francs to the
32:20
Speaker 1: Russian Ballet, and so it starts performing in France, and
32:25
Speaker 1: things are going well for Chanel She's got her couture house.
32:29
Speaker 1: She is designing the costumes for the Russian ballet Oh kelsyprise,
32:35
Speaker 1: wonder how she got that gig. And she is touring
32:39
Speaker 1: with Stravinsky. She's also shagging him unbeknownst to his wife.
32:45
Speaker 1: So hmmm. Now, like I said, up until this point,
32:52
Speaker 1: you we could would, and I was rooting for Mademoiselle
32:57
Speaker 1: Gabrielle Gogo Chanel. And this is the turning point where
33:06
Speaker 1: the angle shifts. I mean, how to put this in
33:10
Speaker 1: the nicest way possible. Frankly, Coco Chanell is tilting pretty sharply,
33:17
Speaker 1: bitch word and it only gets worse from here. But anyway,
33:23
Speaker 1: nineteen twenty two, at the long Champraces, she meets Pierre Wordtimer.
33:28
Speaker 1: One thing leads to another and the Vertimer Wordtimer Verdtimer.
33:33
Speaker 1: The brothers. They become massive investors in Perform Chanel. They
33:40
Speaker 1: provide full financing for the production, marketing, and distribution of
33:47
Speaker 1: Chanelle number five, so they would get like the majority
33:50
Speaker 1: of the profits because they had the majority of the investments.
33:54
Speaker 1: And initially, Coco Chanell she is absolutely fine with this agreement.
34:01
Speaker 1: She puts her name on it, but she's not involved
34:03
Speaker 1: in like the business side of things. So they own this,
34:07
Speaker 1: these Jewish brothers own this. This is going to be
34:13
Speaker 1: important later on. But yes, initially Chanell is happy with
34:17
Speaker 1: this business arrangement. Over time she becomes less happy. I
34:21
Speaker 1: mean it could be because of you know, her habitual
34:24
Speaker 1: drug use. So yeah, she becomes pals with Missy Assert,
34:28
Speaker 1: who is one of the bohemian elite in Paris, and
34:32
Speaker 1: she's the wife of Jose Marie Assert, the Spanish painter.
34:36
Speaker 1: So they just start like hanging out and doing drugs.
34:41
Speaker 1: Like Chanell becomes addicted to morphine, and if the stories
34:46
Speaker 1: are true, Chanelle had some of the quote unquote best
34:51
Speaker 1: cocaine parties in Paris. I mean, don't be shocked. Back
34:56
Speaker 1: in the day everything had like heroin or morphine or
35:01
Speaker 1: opium or cocaine. Just raisins everything. And at this point
35:07
Speaker 1: in her life, things are going well for Chanel. You know,
35:11
Speaker 1: she gets introduced to British high society. She meets Winston Churchill,
35:17
Speaker 1: the Prince of Wales and the Duke of Westminster, who
35:23
Speaker 1: is how do I put this disgusting anti Semite. So
35:29
Speaker 1: he fucking hates Jews, absolutely can't stand them, doesn't even
35:33
Speaker 1: like it when they're a wee bit Jewish, not adult.
35:36
Speaker 1: That was a really bad joke. My dad's side is Jewish,
35:40
Speaker 1: so they can kick my ass for making that joke later. So, yeah,
35:44
Speaker 1: she is dealing with this Duke of Westminster and he
35:48
Speaker 1: is lavishing her with jewels, art, decadent shit, as per
35:54
Speaker 1: fucking usual, and he gets her a home in Mayfair.
35:59
Speaker 1: Now I've been this before. You get a monopoly board,
36:03
Speaker 1: Mayfair is the purple one. It's it's where the money is. Like,
36:08
Speaker 1: only rich people love in Mayfair, you know. Oh yes,
36:11
Speaker 1: not just an anti Semite but also hated the gaze.
36:15
Speaker 1: And are we really surprised, No, not even a little bit.
36:20
Speaker 1: So while she's swornen a bit England, not only does
36:23
Speaker 1: she have the Duke of Westminster on a tail, but
36:25
Speaker 1: you know Edward, the Prince of Wales, he is also
36:29
Speaker 1: chasing her. That's right, the one who abdicates. Uh huh. Yeah,
36:36
Speaker 1: And apparently they had something something going on, but it
36:41
Speaker 1: fizzles out at some point, probably because the Duke of
36:44
Speaker 1: Winceminster gives her this fucking patch of land in France
36:49
Speaker 1: where she builds a villa La Pozza. Now I cannot
36:53
Speaker 1: be mad for her for taking you know, money off
36:56
Speaker 1: of of British royals to build her ship, Like I
36:58
Speaker 1: can't be mad at that. So Chanel has been rubbing
37:01
Speaker 1: elbows and shoulders with the trendy French, the British aristocracy.
37:06
Speaker 1: What's next movie stars abse fucolutely. She starts designing in
37:11
Speaker 1: like nineteen thirty one. She starts designing for the moving pictures.
37:17
Speaker 1: So she goes to Hollywood and a white train decked
37:22
Speaker 1: out to be luxurious. Think you know, I was gonna say,
37:26
Speaker 1: the Polar Express. That's wrong, Orient Express, the Polar Express,
37:31
Speaker 1: Fuck's sake. No, So she goes over there and she
37:36
Speaker 1: dresses these movie stars and does costume for film. She
37:41
Speaker 1: gets Greta Garbo and Marlene Dietrich to be her private lines,
37:45
Speaker 1: which I mean, of course she does. That's fine, But
37:49
Speaker 1: she does not like Hollywood. She finds it incredibly distasteful.
37:54
Speaker 1: She doesn't like it. You know, it's not her bag,
37:57
Speaker 1: it's beneath her effectively, and she really doesn't get or
38:02
Speaker 1: doesn't appreciate, I think the Hollywood glamour because she was
38:07
Speaker 1: very like you see her designs, they're very representative of
38:11
Speaker 1: who she is as a designer, and Hollywood was just more,
38:17
Speaker 1: you know, and she was not back to her personal
38:21
Speaker 1: life though she is shagging the poet Pierre le Valde
38:26
Speaker 1: and the designer Paulribe. Now her and Paul there together
38:31
Speaker 1: up until nineteen thirty six when he dies. And yeah,
38:37
Speaker 1: the thing about poly rebe Eribe, I don't know how
38:39
Speaker 1: to pronounce his name, and I don't care again because
38:41
Speaker 1: he's a fucking antisemite and I have absolutely no patience
38:44
Speaker 1: for those kind of arseholes. He's a big lo give
38:47
Speaker 1: a fuck. He dies arios. So not only was Chanelle,
38:51
Speaker 1: you know, having these affairs with these dodgy, fucking dudes,
38:56
Speaker 1: she was also getting i don't know, insecure, power, annoyed,
39:00
Speaker 1: and absolutely batshit crazy. I don't say that lightly. Because
39:06
Speaker 1: there's this designer, Elsa Schiaparelli who's when she's Italian and
39:11
Speaker 1: I will cover her someday because she's just fucking awesome.
39:15
Speaker 1: So she's very avant garde. She's fun and funky, and
39:20
Speaker 1: she's has these sort of hints of surrealism, you know,
39:28
Speaker 1: she's inspired by Dally and things like that, and they're
39:31
Speaker 1: very boyish, they're very traditional lines in shapes, they very
39:34
Speaker 1: austere designs of Chanel. They aren't quite cutting it anymore.
39:40
Speaker 1: So it's coming into like through the thirties, and this
39:44
Speaker 1: woman is just taking over hodkature. And while everyone is
39:49
Speaker 1: singing Sciaparelli's praises and everything else, Chanelle ends up collaborating
39:56
Speaker 1: with Jean Cock two on on this theater piece, and
40:00
Speaker 1: basically it gets torn to shreds, much like her designs,
40:05
Speaker 1: because they were just not good. They were very affected,
40:09
Speaker 1: they were dodgy. Nobody liked them. And everyone is still
40:12
Speaker 1: singing these damn praises by Skaperelly, and so Scapberelly is
40:19
Speaker 1: calling her like the hat maker, and and Chanelle is
40:23
Speaker 1: referring to her rival as the girl who makes clothes
40:25
Speaker 1: because she doesn't have, you know, professional training. She just
40:28
Speaker 1: kind of made her way in the world. I mean,
40:31
Speaker 1: Skaperelli was rich, but you know still. So then there
40:36
Speaker 1: is the costume party. This all comes to a head
40:40
Speaker 1: and they're at this party and Elsa's Skapbarelli is dressed
40:45
Speaker 1: as a tree. I can't remember what Chanelle was dressed as,
40:49
Speaker 1: I seem to have blocked it from my memory. So
40:53
Speaker 1: Chanelle goes over to her and asks her to dance,
40:57
Speaker 1: you know, which seems innocuous enough, That seems nice. Maybe
41:00
Speaker 1: she's making amends. Maybe she's playing up for the elite
41:05
Speaker 1: that are surrounding them a little bit crazier than that,
41:09
Speaker 1: we bit bad. What she does is she maneuvers el
41:16
Speaker 1: sisciapraily towards an open flame and sets her on fire.
41:24
Speaker 1: She set her on fire. That was a plan. That
41:28
Speaker 1: was a deliberate action this woman did. That is not
41:30
Speaker 1: what somebody in the right frame of mind does. One
41:33
Speaker 1: does not just set your rival on fire. I mean,
41:38
Speaker 1: what the fuck. In nineteen thirty six, there is a
41:42
Speaker 1: French general labor strike. So yeah, all of the laborers,
41:47
Speaker 1: they go on strike. This fucking hurts Chanel because she
41:51
Speaker 1: is very well right wing. She doesn't believe in unions,
41:56
Speaker 1: she doesn't believe in strikes. She's not really a fan
41:59
Speaker 1: of fair wages, you know what I mean. So she
42:03
Speaker 1: is very angry that her workers want higher wages, you know,
42:09
Speaker 1: you know, just a standard standard living, you know, as
42:15
Speaker 1: someone who grew upped up or she should understand that.
42:18
Speaker 1: But for some reason, I guess she's too far away
42:21
Speaker 1: from it now, especially considering she's still telling people that
42:24
Speaker 1: she is in fact, you know, had such a wonderful
42:28
Speaker 1: grand life growing up. Then of course, World War two.
42:34
Speaker 1: So nineteen thirty nine, you know, war is declared and
42:38
Speaker 1: Chanell just straight up closes her fashion house. It is
42:42
Speaker 1: just stopped. She goes on to say that it's not
42:46
Speaker 1: a time for fashion, and effectively four thousand workers lose
42:50
Speaker 1: their jobs. She just cuts off four thousand women straight away,
42:58
Speaker 1: not as if she could have, I don't know, worked
43:01
Speaker 1: with the French government to have them so shit, I
43:04
Speaker 1: don't know, there were things you do in wartime. So yeah,
43:09
Speaker 1: she does that, and she gets really angry because on
43:15
Speaker 1: more than one occasion during this time, Chanell states that
43:19
Speaker 1: she believes that Jewish people, you know, are a threat
43:23
Speaker 1: to Europe in general, and they were the cause of
43:30
Speaker 1: the Bolshevik government in the Sovietian like the Jews. But
43:35
Speaker 1: of course, Madame Chanelle, she needs somewhere to stay at
43:39
Speaker 1: this point. And does she stay in her villa, Does
43:43
Speaker 1: she stay in many of her apartments where she could
43:46
Speaker 1: live in England or elsewhere in France. No, she moves
43:52
Speaker 1: into the Hotel Ritz, aided by an old friend that
43:58
Speaker 1: she knew pre war, a certain baron Hans Gunter, von Dnklich.
44:06
Speaker 1: He was a German aristocrat. He was a member of
44:08
Speaker 1: the Prussian Army, you know, before World War One, but
44:14
Speaker 1: before Germany became Germany, so like Prussia, Bismarck, the whole shebang. Anyway,
44:21
Speaker 1: he was there and Baron von Dnklich he he had
44:27
Speaker 1: a special relationship with Madame Chanel and he was the
44:33
Speaker 1: one that made sure she managed to get an abode
44:37
Speaker 1: within the hotel Rats. He made sure she got in
44:41
Speaker 1: there and they have an affair. Oh what you're You're shocked?
44:47
Speaker 1: I'm sure, are you shocked? This is shocking news. Fuck off.
44:52
Speaker 1: So we know now that many French military documents have
44:59
Speaker 1: been unseen. Remember the Verdheimer brothers, Yes, the men who
45:04
Speaker 1: own the Chanelle perform See, the Nazis were putting into
45:08
Speaker 1: law that Jewish people could not own businesses. You know,
45:13
Speaker 1: that thing was coming into France as well as everywhere else.
45:17
Speaker 1: And Chanelle knew this was going to be happening again
45:20
Speaker 1: because of her Shagan and Nazi and so she starts
45:24
Speaker 1: petitioning the Germans to reclaim her sole ownership of the
45:30
Speaker 1: brand of the Chanelle perfume. So she was actively trying
45:35
Speaker 1: to get rid of her Jewish business partners in more
45:38
Speaker 1: ways than one. She basically put a target on their backs.
45:42
Speaker 1: So she tried to fuck them over. But the Verdheimer brothers,
45:46
Speaker 1: they weren't idiots. They could see this coming. So Chanelle
45:50
Speaker 1: writes to the government administrator in charge of Jewish assets, right,
45:58
Speaker 1: and she's like, I own it because Parform Chanel is
46:02
Speaker 1: still the property of Jews and as such had been
46:05
Speaker 1: legally abandoned by the owners, and so she was, you know,
46:11
Speaker 1: trying to reclaim it back. Unbeknownst to Chanel though, right,
46:15
Speaker 1: they had legally turned control of Parform Chanel to Felix Anniel,
46:22
Speaker 1: who was a Christian French businessman, and so they had
46:28
Speaker 1: transferred all the deeds to this dude in nineteen forty
46:31
Speaker 1: and she's petitioning in forty one. So she had no
46:33
Speaker 1: idea this has happened because they were like, nope, this
46:36
Speaker 1: ain't happening. So this legal battle continues and Chanelle hires
46:45
Speaker 1: the French Prime Minister's son in law as her lawyer
46:48
Speaker 1: to sue you know, the Verendheimer's. Luckily enough, in like
46:55
Speaker 1: after a while, they come to an agreement, but it
46:59
Speaker 1: doesn't change the fact that she tried to you know,
47:05
Speaker 1: destroy to Jewish men. And if you think that's where
47:10
Speaker 1: it stops, oh no, it gets much worse. We don't
47:15
Speaker 1: know exactly why, but Chanel had a code name Westminster
47:22
Speaker 1: and a German agent spy number F seven one two four.
47:29
Speaker 1: So the Germans invade France. She moves into a hotel
47:34
Speaker 1: where the Germans are. She then spends a lot of
47:38
Speaker 1: time with them, having affairs with them, tries to destroy
47:42
Speaker 1: Jewish people, and well, you know, it's funny. Women in
47:50
Speaker 1: France were punished for horizontal collaboration with German officers. Right.
47:56
Speaker 1: What would happen is they would get their head shaved
47:58
Speaker 1: and stuff and just humiliated a bunch of other shit.
48:01
Speaker 1: They would be tried and everything. Many things would happen.
48:05
Speaker 1: This didn't happen to Chanell. Oh no. The moment the
48:09
Speaker 1: war was over, she puts this sign up in her
48:13
Speaker 1: store gate saying that Chanelle number five is free to
48:16
Speaker 1: oh gis ha haha. And then she gets the hell
48:19
Speaker 1: at a dodge and focks off to Switzerland so that
48:22
Speaker 1: she cannot be tried as a Nazi collaborator. Now, this
48:27
Speaker 1: to me does not seem like the actions of an
48:31
Speaker 1: innocent women. And what do you know, I'm fucking right.
48:37
Speaker 1: So she is involved in a third Reich plan to
48:42
Speaker 1: take control of Madrid like Spain. Like she's part of this.
48:49
Speaker 1: I think I'm gonna go into Operation Model hut In
48:52
Speaker 1: like a separate Berrysode because there's just too much of
48:54
Speaker 1: it going on. But basically, yeah, So she gets interrogated
49:00
Speaker 1: in nineteen forty four from the Free French Purge Committee
49:03
Speaker 1: and they're like, oh, we can't find evidence. And fun fact,
49:09
Speaker 1: Chanell started telling people that Winston Churchill had her freed
49:17
Speaker 1: so that she would escape prosecutions so she wouldn't have
49:20
Speaker 1: to deal with this shit that she did. But yes,
49:24
Speaker 1: post war, she ballocks off to Switzerland and you know
49:27
Speaker 1: how stays with her sometimes there barn Vaughan dunkledge. That's right,
49:33
Speaker 1: that motherfucker is there with her. What So she's safe
49:36
Speaker 1: and relatively secure in Switzerland and she sells her villa
49:40
Speaker 1: La Paza because Switzerland's expensive. You need to have more money. AnyWho.
49:48
Speaker 1: Business wise, things are, things are changing. So Dors come
49:53
Speaker 1: onto the scene with his new look, and Edie's just
49:56
Speaker 1: overtaking everything. You've got all these like mall designers taking over.
50:00
Speaker 1: At this point you've got Balenciaga, Piguet, Fath Dior obviously,
50:06
Speaker 1: and she was like, she fucking hated these designs, you know,
50:14
Speaker 1: the sensed waste, the boobs, like the very feminine, the
50:18
Speaker 1: very lots of fabric, lots of shape. She despised this,
50:23
Speaker 1: and she was like, female designers will just rebel against
50:27
Speaker 1: this arg and you know, hm hmm sight away she
50:32
Speaker 1: nails like seventy or over seventy at this point, and
50:36
Speaker 1: her you know, her creture house, her Maison Cutillier has
50:39
Speaker 1: been closed for I don't know, nearly two decades, and
50:42
Speaker 1: she's like, I need to re enter the fucking fashion world.
50:48
Speaker 1: And Pierre Vertheimer, who oh, how do I put this,
50:55
Speaker 1: clearly did not holdy grudge and also liked making money
50:59
Speaker 1: and knew he could he financially just backs this comeback
51:05
Speaker 1: collection and so heard about this. So like a lot
51:11
Speaker 1: of a lot of the French press are really apprehensive
51:15
Speaker 1: to like comment on it, but like America and Britain
51:18
Speaker 1: were all like, oh, look at Chanel, look at the
51:20
Speaker 1: clean lines. It's beautiful, it's amazing. And of course this
51:25
Speaker 1: is the creation of the Chanelle suit. As she moved
51:31
Speaker 1: to the sixties and into like the early seventies, Chanelle's
51:35
Speaker 1: getting angrier and intense and not fun to be around.
51:42
Speaker 1: Tyrannical is actually the word that's used most often. But
51:45
Speaker 1: she is still living at the Ritz. She went back
51:48
Speaker 1: there because of course she fucking did. She is preparing
51:51
Speaker 1: the spring catalog, and she goes for a long drive
51:55
Speaker 1: in the afternoon and she's thinkin of shitty. She comes
52:01
Speaker 1: back and she says to her maid, you see, this
52:07
Speaker 1: is how you die. Because she has her maid with
52:11
Speaker 1: her in the Hotel Rits. She then goes to bed
52:16
Speaker 1: and the very next day, Gabrielle Coco Chanel passes away
52:22
Speaker 1: on Sunday, the tenth of January nineteen seventy one, at
52:26
Speaker 1: the Hotel Rits, at the age of eighty seven. And frankly,
52:31
Speaker 1: she lived far too long for someone who was so
52:33
Speaker 1: much of an arsehole. You know how, sometimes they say
52:36
Speaker 1: that you can separate art from the artists. I don't
52:40
Speaker 1: think that's the case here. If you look at any
52:43
Speaker 1: of Chanelle's designs, they're very austere, They're very right wing
52:49
Speaker 1: in their shape, like there is no like she is
52:53
Speaker 1: clearly inspired by this, you know. So here's the thing.
52:59
Speaker 1: I love the perfume Coco Mademoiselle bau Chanel. I thought
53:03
Speaker 1: it was amazing, but I actually just stopped wearing it
53:07
Speaker 1: when you know, I learned initially about Chanelle's involvement, and
53:12
Speaker 1: then like a few years ago, I had discovered, you know,
53:19
Speaker 1: the situation with the Wertheimers and the fact that they
53:22
Speaker 1: owned the company. They're the ones who who had it.
53:27
Speaker 1: You know, they claimed it back and their descendants still
53:31
Speaker 1: own the fucking thing. So the very people she tried
53:33
Speaker 1: to destroy, they still own that company. And I say
53:37
Speaker 1: that as a massive fuck you to Coco Chanel and
53:40
Speaker 1: as such like that was the point I decided to
53:43
Speaker 1: start wearing the perfume again. And that's why I don't
53:46
Speaker 1: mind wearing Chanelle stuff, because she lost in the end.
53:52
Speaker 1: I mean, I wish she lost harder. And as a woman,
53:56
Speaker 1: I have heard the phrase, you know, Coco Chanell always
54:00
Speaker 1: says to take off one accessory before you leave the house.
54:04
Speaker 1: And to that, I say, nah, I add another one on,
54:08
Speaker 1: and another one. Where as many accessories as you fucking
54:11
Speaker 1: like shove a crown on, it doesn't where whatever the
54:14
Speaker 1: fuck you want, because fuck minimalism, focusterity, Fuck Coco Chanel. Frankly,
54:21
Speaker 1: she should go choke on a bag of Nazi dix,
54:23
Speaker 1: the fascist love and twat waffle. Okay, so that today's tail.
54:31
Speaker 1: If you liked my retelling of this piece of history,
54:34
Speaker 1: feel free to rate and review five stars on Apple Podcasts,
54:37
Speaker 1: Spotify or wherever you listen to podcasts. When your rate
54:41
Speaker 1: and review five stars, it really helps me on the
54:43
Speaker 1: business end. It really pushes me up the charts and
54:46
Speaker 1: it gets more people seeing this podcast, and it will
54:50
Speaker 1: really really help me. It absolutely will. And you don't
54:52
Speaker 1: have to say anything. But you could write anything in there.
54:54
Speaker 1: It doesn't matter. You could insult me. It really doesn't matter.
54:57
Speaker 1: I mean I do love compliments, so there is that.
55:01
Speaker 1: But anyway, yes, I should give you some recommendations. So
55:09
Speaker 1: reading recommendations, I'm going to go with Ooh, Advice from
55:15
Speaker 1: Strangers by Rachel Paris. It's just a good read. For listening,
55:22
Speaker 1: I'm gonna recommend the podcast Trashy Divorces. Just go, you're
55:28
Speaker 1: gonna love it, trust me. And for watching, let's not
55:34
Speaker 1: pretend that the Bruneissance has passed us by. Just watch
55:37
Speaker 1: as many Brendan Fraser films as you can. I'm talking
55:41
Speaker 1: blast from the past, George of the Jungle, the Mummy,
55:45
Speaker 1: The Mummy returns. We don't talk about the third one.
55:48
Speaker 1: It's not good, so then go watch them. And also
55:52
Speaker 1: Doom Patrol. I mean, you don't get to see his face,
55:54
Speaker 1: but he's funny in it. If you like weird things,
55:57
Speaker 1: you like Doom Patrol. But yes, Breneissance. Anyway, I am
56:02
Speaker 1: going to go now and I will chat to you
56:04
Speaker 1: again soon. Adios. Au Revoir of Widows Are My Friends?
56:08
Speaker 1: A Bae by