Latest / Who Did What Now With Katie Charlwood / 58. Coco Chanel - The Fascist Fashionista

Transcript

58. Coco Chanel - The Fascist Fashionista · Who Did What Now With Katie Charlwood

0:00
Speaker 1: You're listening to an airwave media podcast. Hi everybody, and
0:18
Speaker 1: welcome to Who Did What Now? The history podcast That's
0:21
Speaker 1: not your history class with me your host Katie Charlwood,
0:25
Speaker 1: history harlot and reader of books. I have news. Yes,
0:31
Speaker 1: gather around my guild of historical Descent. There's merch coming, yay.
0:41
Speaker 1: I had like a bunch of DMS and emails from
0:44
Speaker 1: people going when's the merch, where's the merch? Why don't
0:49
Speaker 1: you have where is a YadA, YadA YadA, And I thought, okay,
0:53
Speaker 1: I really need to pull my finger at my arse
0:55
Speaker 1: and actually get it sorted. So soon in the next
0:58
Speaker 1: couple of days, there shall be merch, and I'm gonna
1:03
Speaker 1: have an announcement coming up. I'm gonna have more details
1:05
Speaker 1: for you. I only have some of the details now,
1:10
Speaker 1: but for all of my followers in the States, guess
1:16
Speaker 1: is coming to visit mo me darlings, Yes, yes, indeed,
1:25
Speaker 1: so yeah, I'm coming to America, the United States of America.
1:29
Speaker 1: When I even say at the sort of end of May,
1:34
Speaker 1: because I'm going to New Jersey for a little bit,
1:38
Speaker 1: I know I have people going, why are you going?
1:40
Speaker 1: I just am okay, I just am maybe I'm just
1:45
Speaker 1: a really big fan of the Viewers universe. You don't
1:47
Speaker 1: know my life anyway. I am actually a really big
1:51
Speaker 1: fan of the Viewers universe. I love Kevin Smith movies,
1:55
Speaker 1: I really do. And yes, I'm gonna be in New
1:59
Speaker 1: Jersey for a couple days and then I'm heading to
2:02
Speaker 1: Kansas because I'm going to be a guest speaker at
2:05
Speaker 1: an event and I will have more details to follow
2:08
Speaker 1: once i have everything locked, loaded and ready to go.
2:14
Speaker 1: Once they're ready to promote, I'll be ready to share
2:17
Speaker 1: some menfol I'm very excited about this because it's it's
2:23
Speaker 1: the first time I've been or first time I will
2:26
Speaker 1: be like across the pond. Like I've never been to
2:30
Speaker 1: the US. I've been to Europe and other places. I mean,
2:33
Speaker 1: I love in Europe, but I've been to other places
2:35
Speaker 1: in Europe, but I've never gone out of the continent.
2:39
Speaker 1: So this is very exciting for me. I'm kind of
2:43
Speaker 1: tempted to see if i can get like a small
2:47
Speaker 1: bar or space to do like a live podcast recording
2:56
Speaker 1: in New Jersey because I'm there for a couple of days. Like,
2:59
Speaker 1: wonder if there is a way to make that happen,
3:01
Speaker 1: If anyone listens to me and is from that area,
3:05
Speaker 1: because I'm flying into like Newark, and I'm gonna stay
3:09
Speaker 1: like twenty minutes at most away from the airport because
3:14
Speaker 1: I don't need that kind of chaos when I'm traveling
3:17
Speaker 1: back and forth. So if anyone knows of any way
3:21
Speaker 1: to do that again because I'm not from there, that
3:25
Speaker 1: would be super. Get in contact with me. Let's make
3:29
Speaker 1: it happen. Yes. Also, yeah, the reviews, the reviews are
3:36
Speaker 1: still coming and I love you also very much. And
3:39
Speaker 1: then I got the most amazing recommendation for how I
3:44
Speaker 1: should go about, you know, my sleuthy murder mystery obsession,
3:49
Speaker 1: and I am so excited. Oh. Also, in addition, furthermore,
3:55
Speaker 1: my darling friend Shawn I made a video it was
3:58
Speaker 1: a stitch of another video talking about poison rings like
4:01
Speaker 1: Catherine de Medici, that kind of thing, and you know
4:05
Speaker 1: how much I love them because I do. I may
4:09
Speaker 1: have an unnatural obsession with poison and stuff, but yeah,
4:14
Speaker 1: I love poison rings. And now it Julie might be
4:17
Speaker 1: making me one like this is so exciting. I like,
4:22
Speaker 1: I don't know how to how to deal with this
4:25
Speaker 1: much positivity, Like I have very HD and anxiety and
4:30
Speaker 1: I continuously like struggle with that, and I have a habit.
4:37
Speaker 1: I know, you're shocked of overthinking, and I always go
4:40
Speaker 1: to the worst case scenario, So when it comes to
4:43
Speaker 1: something positive happening, I'm just like, it's very unusual for me,
4:50
Speaker 1: and it's a little bit tough for me to deal
4:52
Speaker 1: with and all of this like support and positivity and
4:58
Speaker 1: that people are just giving, they're just giving so much
5:02
Speaker 1: like it's I don't know how to deal with that
5:07
Speaker 1: level of consideration. I don't know, you know, compassion and
5:15
Speaker 1: everything that goes with it. And yeah, oh goodness. We
5:21
Speaker 1: have Valentine's Day coming up as well, so I'm kind
5:25
Speaker 1: of tempted because my friends don't listen to this, so
5:27
Speaker 1: it doesn't really matter. I'm tempted to just go and
5:30
Speaker 1: buy a bunch of Valentine's cards and just post them
5:34
Speaker 1: out to my pals just because I can, just to
5:39
Speaker 1: show them they're loved. Because everything sucks, the world's kind
5:45
Speaker 1: of shitty, there's a cost of living crisis. I'm going
5:48
Speaker 1: to get my friends Valentine's cards. They deserve some goddamn love.
5:54
Speaker 1: Might not be from the person they want it to
5:56
Speaker 1: be from, but they'll just have to deal with that.
6:00
Speaker 1: But I know what you're thinking. You're thinking, quit your
6:02
Speaker 1: jibber jabber in fact me, In fact you I will.
6:05
Speaker 1: But first we've going to get our source on. Our
6:10
Speaker 1: sources are Chanelle and her World Friends, Fashion and Fame
6:15
Speaker 1: by Edmond Charles Roux, Coco Chanell, An Intimate Life by
6:21
Speaker 1: Lisa Cheney, Sleeping with the Enemy Coucu Chanell, Nazi Agent
6:28
Speaker 1: by hal Vaughan, Mademoiselle Chanell by C. W. Gordner, Cooka Chanell,
6:40
Speaker 1: The Legend and the Life by Justine Picardy, Mademoiselle Coku Chanell,
6:47
Speaker 1: and The Pulse of History by Rohnda k Garlic Coco
6:51
Speaker 1: Chanell From Fashion Icon to Nazi Agent by Jeffrey Jones
6:57
Speaker 1: and Emily Granjean. And of course we have our favorites
7:02
Speaker 1: Biography dot com and History dot Com. Are you sitting
7:06
Speaker 1: comfortably good? Then let's begin. As some of you know,
7:12
Speaker 1: I have a special special place in my heart for harlots, whores,
7:18
Speaker 1: hussies and strumpets. And the thing is about the women
7:23
Speaker 1: who have these labels. Generally, the reason they make the
7:27
Speaker 1: choices they make it is because they have to, because
7:32
Speaker 1: there are no other options because they do what is
7:35
Speaker 1: necessary and quite a lot of the time, like myself,
7:40
Speaker 1: you'll find yourself rooting for these badass women as you
7:45
Speaker 1: fucking should. And you're probably gonna feel that way about
7:50
Speaker 1: Coco Chanel up until the midpoint of this tale, at
7:55
Speaker 1: which point you're going to get very angry. I mean,
8:00
Speaker 1: if you have a soul but you are not going
8:04
Speaker 1: to be on her side, you will be. You'll be
8:07
Speaker 1: backing her up until a certain point, and then this
8:10
Speaker 1: shit's gonna hit the fan, and choices are made, not
8:16
Speaker 1: necessarily the best ones you know for humanity. But we're
8:21
Speaker 1: gonna get there. But I guess we should start from
8:25
Speaker 1: the beginning, and so we shall. But one more thing
8:29
Speaker 1: before we do. I would like to formally apologize to
8:32
Speaker 1: any French or French speaking people who have to hear
8:36
Speaker 1: me pronounce words with this accent, because I'm probably gonna
8:41
Speaker 1: fuck up a bunch of them, Like absolutely, But let's
8:45
Speaker 1: just get into it. Gabrielle Bonur Chanelle was born on
8:50
Speaker 1: the nineteenth of August eighteen eighty three. We have a birthday, everybody,
8:56
Speaker 1: We have a location. We have a day, not just
9:01
Speaker 1: a year, an actual date. I mean it is the
9:03
Speaker 1: eighteen eighties, so you know whatever, but still look at
9:09
Speaker 1: this progress. Come on, okay. So Chanelle is born to
9:16
Speaker 1: Albert Chanelle and Eugenie Geene de Vos. So she's basically
9:23
Speaker 1: known as Gene for most of her life. She's never
9:26
Speaker 1: really known as Eugenie or anything else. So she is
9:31
Speaker 1: born in a poor house in Saumur. It's basically this
9:39
Speaker 1: poor house run by nuns. None nuns, nuns, it's always
9:46
Speaker 1: those bloody nuns. So she is born in this poor
9:52
Speaker 1: house to Albert and Jen. Albert is a traveling salesman,
9:58
Speaker 1: so he does door to door sales. Effect he is
10:02
Speaker 1: selling work clothes and underwear like undergarments, that is his thing,
10:09
Speaker 1: and so he would travel around. He's very nomadic. Who
10:12
Speaker 1: even though he is, you know, going around the place,
10:16
Speaker 1: still manages to get Jean pregnant quite a lot. See
10:21
Speaker 1: Gabrielle here. She is the second child born to the
10:25
Speaker 1: couple this year, like you know, two in one year.
10:32
Speaker 1: That's Irish twins. You might be in France, but those
10:35
Speaker 1: are Irish twins. So her sister, Julie is her older sister,
10:39
Speaker 1: and a year later, Albert and Jean get married. So yeah,
10:46
Speaker 1: she's born out of wedlock. So in this day and age,
10:52
Speaker 1: Gabrielle Donur Chanelle was officially a bastard baby, born in
10:59
Speaker 1: a poor house. And after she is born, her mother
11:03
Speaker 1: Jeane is so ill that she cannot go and like
11:07
Speaker 1: sign the birth register, and Albert Hay's off gallivantan selling
11:13
Speaker 1: undergarments of no particular description. I could not find out
11:17
Speaker 1: exactly what he sold, so I can only assume it's
11:21
Speaker 1: hosiary and corsets or maybe whatever, old fashioned bloomers, maybe bloomers.
11:28
Speaker 1: It could be bloomers, but he's not around. And so
11:33
Speaker 1: her name, her surname actually gets registered incorrect, so instead
11:39
Speaker 1: of being Chanel, it's Chasnel. And it's because of this
11:45
Speaker 1: that we actually found out about her original upbringing. So
11:49
Speaker 1: when Chanelle makes it big, she bullshits, so she says
11:53
Speaker 1: she's born ten years later than she is, and then
11:56
Speaker 1: she basically says that she had a glamorous and wonderful upbringing.
12:02
Speaker 1: So yeah, in eighteen eighty four, Jeanne and Albert they
12:06
Speaker 1: get married. Effectively, her family banded together united was the
12:13
Speaker 1: term newsed most often. They got together to pay for Albert. Now,
12:20
Speaker 1: I don't know if this meant there was some kind
12:22
Speaker 1: of dowry involved, or whether they just offered general financial support.
12:28
Speaker 1: But I suppose they just didn't want Jeanne to be
12:31
Speaker 1: an unmarried mother of two children. And so yes, here
12:38
Speaker 1: we go. They get married. The couple then go on
12:42
Speaker 1: to have six children, well, four more children, so you
12:47
Speaker 1: have Juliet, Gabrielle, Alfonse, Into, Ainnit Lucien, and Augustine and Augustine.
12:54
Speaker 1: Augustin one of those, he only lives till six or
12:59
Speaker 1: seven months, doesn't make it past infancy. So this family
13:04
Speaker 1: all together live in this one room lodging. So they're
13:10
Speaker 1: lodging in one room they're renting, right, they don't even
13:13
Speaker 1: own a one roomed building. They are renting one room
13:19
Speaker 1: in a building, and they're all crammed together in this
13:21
Speaker 1: little town. Prave la gallerte. I've probably mispronounced. Sorry French people.
13:28
Speaker 1: I'm trying my best, and they are not doing well financially.
13:35
Speaker 1: Clearly they are well how do I put this dirt
13:39
Speaker 1: poor broke as shit? Right, So, yes, things are not
13:45
Speaker 1: going well, and they're about to get fucking worse because
13:50
Speaker 1: when she turns eleven years old, her mother Jeane, she
13:54
Speaker 1: dies and her dad just cannot support the full family
13:59
Speaker 1: owner or he just can't handle it. Not surprised by
14:04
Speaker 1: any stretch of the imagination. Albert not surprised. So he
14:08
Speaker 1: sends his boys away to become farm hands, so they're
14:12
Speaker 1: farm laborers. He's like, that's it, You've got jobs. So
14:16
Speaker 1: they must be like much much younger, because you've got
14:22
Speaker 1: like Gabrielle, she's eleven, she's the second oldest, and depending
14:27
Speaker 1: on the time of year, you know, Julie could also
14:33
Speaker 1: be eleven, and then the rest of the kids, they're
14:36
Speaker 1: gonna be just decreasing from there. So these are young
14:41
Speaker 1: children and they're being sent away to be farm hands
14:47
Speaker 1: like that is not even remotely an easy task, but
14:51
Speaker 1: off the go. The girls, however, they were sent away
14:55
Speaker 1: to the incredibly strict convent at Obbozn, which was effectively
15:01
Speaker 1: it was an orphanage run by some of the scariest
15:04
Speaker 1: people in the world. You guessed it. The fucking nuns
15:07
Speaker 1: are at it again. So the Congregation of the Sacred
15:11
Speaker 1: Heart of Mary, and the whole point of this orphanage
15:15
Speaker 1: is to take care of abandoned and orphaned Catholic girls,
15:21
Speaker 1: or at least people they can then turn Catholic. I
15:23
Speaker 1: mean it's France, basically everyone's Catholic, and surprised, surprise, it's
15:29
Speaker 1: fucking horrific. There it is severe and stark and it
15:34
Speaker 1: is absolutely awful. But fortunately this was where Chanell learned
15:41
Speaker 1: to sew. Unfortunately, at the age of eighteen, like many
15:48
Speaker 1: many children in the system, Chanelle ages out and she
15:52
Speaker 1: gets well, she has to leave. So Julie would have
15:57
Speaker 1: already been sent out, probably earlier in the year, but
16:01
Speaker 1: I'm not actually sure where Julie went to. AnyWho, Chanell
16:06
Speaker 1: moves to a boarding house for Catholic girls in Mulon,
16:11
Speaker 1: So there you have it. Abandoned by her father, sent
16:15
Speaker 1: off to an orphanage, aged out of the orphanage, and
16:18
Speaker 1: having to live in a Catholic boarding house. Well, she
16:23
Speaker 1: gets a job as a seamstress, so that is her
16:26
Speaker 1: day job. But Chanelle she wants more more from this,
16:32
Speaker 1: so she moonlights at a cabaret. Something that Chanelle really
16:36
Speaker 1: did have going for her was her looks, so she
16:39
Speaker 1: was young and she was attractive, and she manages to
16:43
Speaker 1: get a week gig in La Rotonde, which is a
16:48
Speaker 1: pavilion in Mulon, So she's singing at this cave concert
16:53
Speaker 1: in this week cabaret, and she would sing in between
16:58
Speaker 1: like the main act, so she was like a way filler.
17:02
Speaker 1: You know, nowadays you'd have like a comic or something.
17:04
Speaker 1: They probably did have a comic actually, and other such
17:07
Speaker 1: fun things. But she would come out and sing in
17:10
Speaker 1: between the main acts. So she wasn't paid per se
17:14
Speaker 1: by the cabaret. She would get paid in tips. So
17:18
Speaker 1: whenever she would perform in between the big acts, like
17:21
Speaker 1: a weed dish would be going around like a collection
17:24
Speaker 1: plate and people would put money in for her. So
17:29
Speaker 1: this particular cabaret was oft frequented by cavalry officers, so
17:37
Speaker 1: these young military men would go in and watch her
17:40
Speaker 1: perform and listen to her sing and perhaps even deare
17:46
Speaker 1: have a conversation with her between performances. So yeah, she
17:53
Speaker 1: went from one collection plate to another, one way or another. Really,
17:58
Speaker 1: So it is here where Chanell gets her nickname. She
18:02
Speaker 1: tries to say it's because she sang a song co
18:06
Speaker 1: co co cop but no, no, it actually comes from
18:09
Speaker 1: the word cocott, which means kept women. Another phrase for
18:15
Speaker 1: that could also be lady of the night. Basically, she
18:22
Speaker 1: survived by the funding of men Basically the idea is
18:28
Speaker 1: that Coco Chanell was a sugar baby, and frankly cannot
18:32
Speaker 1: really blame her at this point. You know what, it's
18:36
Speaker 1: probably I think, still the Victorian era. You do your babe,
18:39
Speaker 1: you know what I mean. And she was very very
18:45
Speaker 1: popular by all accounts with the military men that visited Laodonde,
18:52
Speaker 1: very popular. Indeed, all I'm saying, just putting it out there.
18:59
Speaker 1: I think that Mademoiselle Chanelle clearly has a type. So
19:05
Speaker 1: when she's twenty three, she moves to VCH for the
19:09
Speaker 1: summer season. V She, if you don't know, is not
19:12
Speaker 1: just a skincare brand. I think it does make up too.
19:15
Speaker 1: I'm fairly certain I have VC foundation, But even their
19:20
Speaker 1: lightest shade that they had available doesn't match my skin
19:24
Speaker 1: tone because I'm so incredibly pale, like I'm naturally a
19:28
Speaker 1: pale shade of blue. It takes me like a week
19:29
Speaker 1: of sunbathing to become white. So V she is this
19:33
Speaker 1: spa resort, and it had everything. It had concert halls
19:39
Speaker 1: and cafes and theaters and cabarets and everything that went
19:43
Speaker 1: with it. And Chanelle she has stars in her eyes.
19:49
Speaker 1: She is ready for this and as we said before
19:53
Speaker 1: Chanelle is young and pretty, but her voice was I'm
20:02
Speaker 1: gonna go with mediocre, Like it's it's less than great,
20:08
Speaker 1: you know, good but not quite. They're not the standard
20:13
Speaker 1: of the VC spa resort. And so she gets auditioned
20:18
Speaker 1: after audition because you know, she's gorgeous, she's attractive, she's young,
20:25
Speaker 1: but she just doesn't have, you know, the talent to
20:29
Speaker 1: be there, you know, So after you know, failing audition,
20:34
Speaker 1: after audition, she gets a job as a water girl.
20:38
Speaker 1: So the VC water it has like minerals in it,
20:41
Speaker 1: and it's supposed to be like regenerative and amazing. It
20:45
Speaker 1: has curative mineral properties. M But anyway, she gets a
20:51
Speaker 1: job as a water girl at the Grand Grill, and
20:56
Speaker 1: when the VC summer season is over, she returns back
21:00
Speaker 1: to Mulon and La Rentonde. And it's at this point
21:06
Speaker 1: it becomes crystal clear to her that she is not
21:11
Speaker 1: in fact destined for the stage. So she needs to
21:14
Speaker 1: figure out a new game plan. She needs a man
21:18
Speaker 1: like she's astute enough to know that in this world
21:22
Speaker 1: she needs that in this we don't judge. At this point,
21:26
Speaker 1: it's nineteen oh six and she's a woman who grew
21:29
Speaker 1: up in abject poverty. This woman is in the turn
21:32
Speaker 1: of the century, broke as shit, fucked around from power
21:37
Speaker 1: to post, abandoned, and she needs to survive. So she
21:43
Speaker 1: goes fuck this for a game of soldiers. She needs
21:46
Speaker 1: a man, a rich man, preferably, because here's the thing.
21:51
Speaker 1: If you have ever been dirt poor in your life,
21:54
Speaker 1: if you have ever lived in any moment of poverty,
21:59
Speaker 1: that will stick with you and you will not want
22:01
Speaker 1: to go back there again. Like that is right in
22:05
Speaker 1: the back of your brain. There's a panic button there,
22:09
Speaker 1: so you know, yes, at this point we're still we're
22:12
Speaker 1: still on Chanel's side. Good for her. You do what
22:15
Speaker 1: you need to do, honey. So she meets this ex
22:19
Speaker 1: cowboy officer and what do you know, textile air Etien Balson,
22:26
Speaker 1: and she becomes his mistress. Again, good for her. You
22:33
Speaker 1: get with that rich man and you take his money.
22:36
Speaker 1: So Chanel gets with Balson and they move into his
22:40
Speaker 1: Chateau Royal. U I have pronounced it incorrectly, and so
22:48
Speaker 1: she moves in Mahattan, thus usurping his courtisan Emilien de Lincon.
22:54
Speaker 1: She gets kicked to the curb, as is the way.
22:57
Speaker 1: You know, it's just how thing goes. But she man
23:00
Speaker 1: is to find something else for herself. So Coco Chanel
23:05
Speaker 1: is the mistress the courtesan to Textile air Etienne Barson,
23:12
Speaker 1: and they live at his chateau for three years and
23:15
Speaker 1: they live it up. Let me tell you that is
23:19
Speaker 1: a Champagne lifestyle. There's diamonds and pearls and fashion. It
23:25
Speaker 1: is self indulgent. There's decadence, there is parties, there is satisfaction.
23:32
Speaker 1: Like remember how Anthony and Cleopatra had this big, indulgent
23:38
Speaker 1: soiree lifestyle. These two do. They are living it up.
23:45
Speaker 1: Balsaan is not faithful. Are we surprised? Absolutely fucking not.
23:51
Speaker 1: This is a man and also a man from the past,
23:54
Speaker 1: a rich man from the past. There's no stopping them, really,
23:58
Speaker 1: So after these three years, she begins an affair with
24:04
Speaker 1: his buddy. Now again, this is nineteen o eight. She's
24:09
Speaker 1: a woman, and you know she allegedly replaced a courtizan,
24:16
Speaker 1: meaning that she could very well easily be replaced. That's
24:20
Speaker 1: just how things go. I mean, clearly there was no
24:23
Speaker 1: bro code going on here. But she starts saying this
24:26
Speaker 1: other fella, I mean, he's not faithful. Why should she be?
24:30
Speaker 1: This girl has no time for her double standards as
24:33
Speaker 1: she should. So she starts this affair with Captain Arthur
24:38
Speaker 1: Edward Capel, who was an English aristocrat. And so these
24:43
Speaker 1: two men start vying for her affections, right, And I
24:48
Speaker 1: don't know what it is about Chanelle. Was she charming?
24:51
Speaker 1: Did she have an enchanting vagina? Hoom's to say? All
24:56
Speaker 1: I know is these two guys start a bidding war.
24:59
Speaker 1: Like she. She is even quoted as saying, time for
25:02
Speaker 1: my terrible French impression. Here we go, du gentle men
25:06
Speaker 1: were out beating for my odd little buddy. I mean,
25:10
Speaker 1: that's a weird way to put it, but yeah, So
25:13
Speaker 1: there is a bidding war happening for Chanell's affections. And Chanell,
25:19
Speaker 1: during this time, she has become like a qualified milliner.
25:24
Speaker 1: So she makes hats, and she starts making hats and
25:27
Speaker 1: designing hats, and she opens up the little boutique on
25:31
Speaker 1: the Loue Cambo in Paris called Chanelle Moude, and it
25:36
Speaker 1: only sells hats, just a hat shop. And about two
25:39
Speaker 1: years later, like this famous actress Gabrielle Dozierte, she wears
25:44
Speaker 1: her hat to this play in all of her performances,
25:47
Speaker 1: and next thing, you know, sales are booming, skyrocketing. Everybody
25:52
Speaker 1: wants a Chanel hat. She becomes, you know, the designer
25:56
Speaker 1: of the moment. So everything is coming up Millhouse. And
26:02
Speaker 1: the following year she opens up another boutique, and this
26:07
Speaker 1: is financed by Captain Arthur Capel, and it's in Doville,
26:14
Speaker 1: and you know, she's expanding, she's moving out there, and
26:20
Speaker 1: she starts designing these casual clothes, leisure wear in sport.
26:25
Speaker 1: Well here's the thing. Her casual and maybe your casual
26:30
Speaker 1: or my casual are very different types of casual. Like
26:34
Speaker 1: this is rich people casual, not you know, going to
26:38
Speaker 1: the shops and a lounge wear casual. No, this is
26:44
Speaker 1: this is I shall wear my casual tea dress casual.
26:48
Speaker 1: You know what I mean? Says me who's currently recording
26:51
Speaker 1: in a Powerpuff Girls snuggie. So in this boutique she
26:56
Speaker 1: is selling hats, obviously, but she's also got jumpers or
27:01
Speaker 1: sweaters to my American followers, sweaters, and she does this
27:05
Speaker 1: thing called the sailor Blause, which is known as La Marigne.
27:09
Speaker 1: Business is going well, but then there's a problem. World
27:13
Speaker 1: War One breaks out nineteen fourteen, and there is a
27:17
Speaker 1: lack of fabric, but Janelle, being the engine out of
27:21
Speaker 1: a little bitch that she is, she decides to use
27:26
Speaker 1: Trycott and Jersey. So these fabrics were generally used for
27:31
Speaker 1: men's underwear, they were affordable, basically cheap, and she can
27:36
Speaker 1: get access to them because they're not used for military
27:40
Speaker 1: uniforms or anything necessary like that. So this really plays
27:45
Speaker 1: into her and she does this really fucking smart move
27:49
Speaker 1: where she hires her auntie and her sister. You're thinking,
27:54
Speaker 1: that's good, She's supporting family. So her paternal aunt is
28:00
Speaker 1: basically very similar in age to like her and her sisters.
28:04
Speaker 1: So Adrienne, her Auntie and her sister Antoinette, she gets
28:09
Speaker 1: them to wear her designs and to walk around the
28:12
Speaker 1: town of Duville. It's Indieville, Chanelle and Deville. So they
28:20
Speaker 1: would saunter through the town of Deville wearing the lovely
28:24
Speaker 1: garments designed by Chanelle and basically show them off to
28:29
Speaker 1: everybody living there, because I mean, it's the best form
28:32
Speaker 1: of advertisement at the time, because ooh, where did you
28:35
Speaker 1: get that lovely dress? Oh? From Chanel. But a lot
28:40
Speaker 1: of the people that were coming into Deville. They were
28:43
Speaker 1: fleeing Paris, so the trendy Parisians they wanted nice clothes
28:50
Speaker 1: and where were they gonna go. Well, voila and Chanel
28:55
Speaker 1: her business just keeps growing. So she opens up this
28:59
Speaker 1: new business in Bear. Its on the cut busk, and
29:04
Speaker 1: it's not really a storefront per se. Well it's not
29:08
Speaker 1: a store funt at all, because they don't put it
29:10
Speaker 1: in a store front. They put it in a fucking
29:12
Speaker 1: villa opposite the casino, which I mean, you can't deny that.
29:17
Speaker 1: It's a really good move. I mean that's just smart.
29:21
Speaker 1: So the place is full of these mainly rich Spaniards,
29:26
Speaker 1: and you have people that are fleeing one war or
29:28
Speaker 1: the other and they just need or they want. Because
29:32
Speaker 1: they're rich people, they want nice things, right they do.
29:36
Speaker 1: They live in luxury. They just can't help themselves, right,
29:39
Speaker 1: it's just the way they are. So the wealthy they
29:44
Speaker 1: still want to be stylish, but this is wartime, so
29:47
Speaker 1: clothes also have to be practical, So like the jersey
29:49
Speaker 1: fabric and all that stuff. It just fucking makes sense
29:53
Speaker 1: because a lot of the trendy Parisians they're working in
29:57
Speaker 1: the hospital because the men are away at war and
29:59
Speaker 1: the women doing their part. That's just you know how
30:01
Speaker 1: it was. And this beer, it's locale, It is so
30:08
Speaker 1: absolutely profitable. It is raking in the cash. Like she
30:12
Speaker 1: was able to pay back carpels original investment, right, I mean,
30:18
Speaker 1: she doesn't want to be beholden to no man. I
30:21
Speaker 1: can appreciate that. I can understand that. So she pays
30:26
Speaker 1: him back his original investment. But she still, you know,
30:29
Speaker 1: stays his lover, like she was hoping that they would
30:32
Speaker 1: get married, but he was not about to marry some courtisan,
30:37
Speaker 1: like it wasn't gonna happen. It just wasn't. And at
30:41
Speaker 1: some point around about the bear it's thing going great,
30:46
Speaker 1: she meets Grand Duke Dmitri Pavlovitch of Russia. They too
30:51
Speaker 1: begin a love affair. And you can understand this because
30:55
Speaker 1: well she knows this do ain't gonna marry her. She's
30:59
Speaker 1: looking for her next, you know security. And the thing
31:03
Speaker 1: about Carpol or Carpel as I keep calling him, eh,
31:07
Speaker 1: is that they are still stooping, you know, even when
31:12
Speaker 1: he marries Lady Diana Wyndham in nineteen eighteen, like they're
31:16
Speaker 1: continuing this affair. I'm not entirely sure if he got
31:19
Speaker 1: married before or after the end of the war, but
31:23
Speaker 1: he got married anyway. Now nineteen nineteen comes along, war
31:28
Speaker 1: is over, and Chanelle registers as a cuteriier and she
31:34
Speaker 1: sets up her mason deu couteur at Toronto rue Cambon, Paris.
31:40
Speaker 1: But it's not all funny games because that very year
31:46
Speaker 1: when she's set up as a cutillier, Arthur Carpole is
31:50
Speaker 1: involved in a car accident and he dies, and she
31:54
Speaker 1: is very upset about the whole thing, Like she even
31:58
Speaker 1: says that heart, a part of it died that day,
32:03
Speaker 1: Like she very much grieved the loss of him. But
32:06
Speaker 1: you know what they say, nothing gets you over the
32:08
Speaker 1: last one like the next one. So nineteen twenty comes
32:14
Speaker 1: along and she meets the Russian composer egress To Revenensky.
32:18
Speaker 1: So the Stravinsky family they have fled, you know, Soviet Russia.
32:21
Speaker 1: There's been a revolution. They're not happy about it. They
32:24
Speaker 1: are getting the hell at a dodge. Now Stravinsky, he
32:27
Speaker 1: is the composer for the bally rus So the Russian Valley,
32:35
Speaker 1: And so they fled and she puts the family up
32:38
Speaker 1: in her house for seven months I think in total,
32:43
Speaker 1: which you know, fair play, call a spade a spad.
32:47
Speaker 1: Good on you, Chanel. And it's here where negotiations start happening.
32:52
Speaker 1: She ends up donating three hundred thousand francs to the
32:56
Speaker 1: Russian Valley, and so it starts performing in France. And
33:01
Speaker 1: things are going well for Chanelle. She's got her couture house,
33:05
Speaker 1: she is designing the costumes for the Russian Ballet. Oh
33:11
Speaker 1: cal surprise, wonder how she got that gig, and she
33:14
Speaker 1: is touring with Stravinsky. She's also shagging him unbeknownst to
33:20
Speaker 1: his wife. So hmmm. Now, like I said, up until
33:27
Speaker 1: this point, you we could would, and I was rooting
33:32
Speaker 1: for Mademoiselle Gabrielle Coco Chanel. And this is the turning
33:38
Speaker 1: point where the angle shifts. I mean, how to put
33:46
Speaker 1: this in the nicest way possible, frankly, Coco Chanell is
33:51
Speaker 1: tilting pretty sharply, bitch word. And it only gets worse
33:56
Speaker 1: from here. But anyway, nineteen twenty two, at the Long Champraces,
34:01
Speaker 1: she meets Pierre Worttimer. One thing leads to another, and
34:05
Speaker 1: the Vertimer Wordtimer Vertimer. The brothers. They become massive investors
34:13
Speaker 1: in from Chanel. They provide full financing for the production, marketing,
34:21
Speaker 1: and distribution of Chanell Number five, so they would get
34:26
Speaker 1: like the majority of the profits because they had the
34:28
Speaker 1: majority of the investments. And initially, Coco Chanel she is
34:33
Speaker 1: absolutely fine with this agreement. She puts her name on it,
34:38
Speaker 1: but she's not involved in like the business side of things.
34:41
Speaker 1: So they own this, these Jewish brothers own this. This
34:48
Speaker 1: is going to be important later on. But yes, initially
34:52
Speaker 1: Chanell is happy with this business arrangement. Over time she
34:55
Speaker 1: becomes less happy. I mean it could be because of,
34:59
Speaker 1: you know, her habitual drug use. So yeah, she becomes
35:03
Speaker 1: pals with Missy Assert, who is one of the Bahamian
35:06
Speaker 1: elite in Paris, and she's the wife of Jose Marie Assert,
35:11
Speaker 1: the Spanish painter. So they just start like hanging out
35:15
Speaker 1: and doing drugs. Like Chanell becomes addicted to morphine, and
35:21
Speaker 1: if the stories are true, Chanell had some of the
35:26
Speaker 1: quote unquote best cocaine parties in Paris. I mean, don't
35:31
Speaker 1: be shocked. Back in the day everything had like heroin
35:36
Speaker 1: or morphine or opium or cocaine just raisins everything. And
35:42
Speaker 1: at this point in her life, things are going well
35:45
Speaker 1: for Chanell. You know, she gets introduced to British high society.
35:51
Speaker 1: She meets Winston Churchill, the Prince of Wales, and the
35:57
Speaker 1: Duke of Westminster, who is how do I put this
36:03
Speaker 1: disgusting anti Semite? So he fucking hates Jews, absolutely can't
36:09
Speaker 1: stand them, doesn't even like it when they're a wee
36:10
Speaker 1: bit Jewish, not adult. That was a really bad joke.
36:14
Speaker 1: My dad's side is Jewish, so they can kick my
36:18
Speaker 1: ass for making that joke later. So, yeah, she is
36:22
Speaker 1: dealing with this Juke of Westminster and he is lavishing
36:25
Speaker 1: her with jewels, art, decadentt shit as per fucking usual,
36:31
Speaker 1: and he gets her a home in Mayfair. Now I've
36:36
Speaker 1: mentioned this before. You get a monopoly board. Mayfair is
36:39
Speaker 1: the purple one. It's it's where the money is. Like
36:44
Speaker 1: only rich people love in Mayfair, you know. Oh yes,
36:47
Speaker 1: not just an anti Semite, but also hated the Gaze.
36:51
Speaker 1: And are we really surprised, No, not even a little bit.
36:56
Speaker 1: So while she's swornen a bit England, not only does
36:59
Speaker 1: she have the Duke of Westminster on a tail, but
37:01
Speaker 1: you know, Edward, the Prince of Wales, he is also
37:06
Speaker 1: chasing her. That's right. The one who abdicates. Uh huh yeah,
37:13
Speaker 1: and apparently they had something something going on, but it
37:17
Speaker 1: fizzles out at some point, probably because the Duke of
37:20
Speaker 1: Winsminster gives her this fucking patch of land in France
37:25
Speaker 1: where she builds a villa La Pozza. Now I cannot
37:29
Speaker 1: be mad for her for taking you know, money off
37:32
Speaker 1: of of British royals to build her shit like, I
37:35
Speaker 1: can't be mad at that. So Chanel has been robin
37:37
Speaker 1: elbows and shoulders with the trendy French, the British aristocracy.
37:43
Speaker 1: What's next? Movie stars apse fuclately, she starts designing in
37:47
Speaker 1: like nineteen thirty one. She starts designing for the moving pictures.
37:54
Speaker 1: So she goes to Hollywood and a white train decked
37:58
Speaker 1: out to be luxurious. I think you know, I was
38:02
Speaker 1: going to say the Polar Express. That's wrong, Orient Express,
38:06
Speaker 1: the Polar Express. Fuck sake. No, So she goes over
38:11
Speaker 1: there and she dresses these movie stars and does costume
38:16
Speaker 1: for film. She gets Greta Garble and Marlena Dietrich to
38:20
Speaker 1: be her private clients, which I mean, of course she does.
38:24
Speaker 1: That's fine, but she does not like Hollywood. She finds
38:28
Speaker 1: it incredibly distasteful. She doesn't like it. You know, it's
38:32
Speaker 1: not her bag, it's beneath her effectively, and she really
38:38
Speaker 1: doesn't get or doesn't appreciate. I think the Hollywood glamour
38:42
Speaker 1: because she was very like you see her designs, they're
38:47
Speaker 1: very representative of who she is as a designer, and
38:51
Speaker 1: Hollywood was just more, you know, and she was not
38:56
Speaker 1: back to her personal life though she is shagging the
39:00
Speaker 1: poet Pierre Levalde and the designer Polyribe. Now her and
39:06
Speaker 1: Paul they are together up until nineteen thirty six when
39:10
Speaker 1: he dies. And yeah, the thing about Polyi reb Erebe,
39:15
Speaker 1: I don't know how to pronounce his name, and I
39:16
Speaker 1: don't care again because he's a fucking anti Semite and
39:19
Speaker 1: I have absolutely no patience for those kind of arseholes.
39:23
Speaker 1: He's a big and lo give a fuck. He dies arios.
39:26
Speaker 1: So not only was Chanelle you know, having these affairs
39:29
Speaker 1: with these dodgy, fucking dudes, she was also getting I
39:34
Speaker 1: don't know, insecure, paranoid and absolutely batshit crazy. I don't
39:40
Speaker 1: say that lightly. Because there's this designer, Elsa Schiaparelli who's
39:45
Speaker 1: and she's Italian and I will cover her someday because
39:48
Speaker 1: she's just fucking awesome. So she's very avant garde. She's
39:55
Speaker 1: fun and funky, and she's has these sort of hints
40:01
Speaker 1: of surrealism, you know, she's inspired by Dally and things
40:05
Speaker 1: like that. And they're very boyish. The very traditional lines
40:10
Speaker 1: and shapes, they very austere designs of Chanelle. They aren't
40:15
Speaker 1: quite cutting it anymore. So it's coming into like through
40:18
Speaker 1: the thirties, and this woman is just taking over hodkuture.
40:24
Speaker 1: And while everyone is singing Scapearelli's praises and everything else,
40:30
Speaker 1: Chanelle ends up collaborating with Jean Cock two on on
40:35
Speaker 1: this theater piece, and basically it gets torn to shreds,
40:40
Speaker 1: much like her designs because they were just not good.
40:43
Speaker 1: They were very affected, they were dodgy. Nobody like them.
40:47
Speaker 1: And everyone is still singing these damn praises by by Scaperelli,
40:53
Speaker 1: and so Scaperelli is calling her like the hat maker,
40:57
Speaker 1: and and Chanelle is referring to her as the girl
41:01
Speaker 1: who makes clothes because she doesn't have, you know, professional training.
41:04
Speaker 1: She just kind of made her way in the world.
41:07
Speaker 1: I mean, Scaparelli was rich, but you know still, so
41:11
Speaker 1: then there is the costume party. This all comes to
41:15
Speaker 1: a head, and they're at this party and Elsa's Scaparelli
41:20
Speaker 1: is dressed as a tree. I can't remember what Sheanelle
41:24
Speaker 1: was dressed as. I seem to have blocked it from
41:27
Speaker 1: my memory. So Chanelle goes over to her and asks
41:32
Speaker 1: her to dance, you know, which seems innocuous enough. That
41:35
Speaker 1: seems nice. Maybe she's making amends. Maybe she's playing up
41:40
Speaker 1: for the elite that are surrounding them. A little bit
41:44
Speaker 1: crazier than that, we bit bad. What she does is
41:49
Speaker 1: she maneuvers Elsa's Scaperelli towards an open flame and sets
41:58
Speaker 1: her on five. She set her on fire. That was
42:03
Speaker 1: a plan. That was a deliberate action this woman did.
42:06
Speaker 1: That is not what somebody in the right frame of
42:09
Speaker 1: mind does. One does not just set your rival on fire.
42:12
Speaker 1: I mean, what the fuck. In nineteen thirty six, there
42:18
Speaker 1: was a French general labor strike. So yeah, all of
42:22
Speaker 1: the laborers, they go on strike. This fucking hurt Chanel
42:27
Speaker 1: because she is very well right wing. She doesn't believe
42:32
Speaker 1: in unions, she doesn't believe in strikes. She's not really
42:35
Speaker 1: a fan of fair wages, you know what I mean.
42:38
Speaker 1: So she is very angry that her workers want higher wages,
42:44
Speaker 1: you know, you know, just a standard standard living, you know,
42:51
Speaker 1: as someone who grew uped up or she should understand that,
42:54
Speaker 1: but for some reason, I guess she's too far away
42:57
Speaker 1: from it now, especially considering she's telling people that she
43:01
Speaker 1: is in fact, you know, had such a wonderful grand
43:04
Speaker 1: life growing up. Then of course, World War two, so
43:10
Speaker 1: nineteen thirty nine, you know, war is declared and Chanell
43:14
Speaker 1: just straight up closes her fashion house. It is just stopped.
43:20
Speaker 1: She goes on to say that it's not a time
43:22
Speaker 1: for fashion, and effectively four thousand workers lose their jobs.
43:29
Speaker 1: She just cuts off four thousand women straight away, not
43:34
Speaker 1: as if she could have, I don't know, worked with
43:37
Speaker 1: the French government to have them, so shit, I don't know,
43:41
Speaker 1: there were things you do in wartime. So yeah, she
43:45
Speaker 1: does that, and she gets really angry because on more
43:51
Speaker 1: than one occasion during this time, Chanell states that she
43:56
Speaker 1: believes that Jewish people, you know, are a threat to
44:00
Speaker 1: Europe in general, and they were the cause of the
44:06
Speaker 1: Bolshevik government in the Soviet Unian like the Jews. But
44:12
Speaker 1: of course, Madame Chanel she needs somewhere to stay at
44:16
Speaker 1: this point, and does she stay in her villa. Does
44:20
Speaker 1: she stay in many of her apartments where she could
44:22
Speaker 1: live in England or elsewhere in France. No, she moves
44:28
Speaker 1: into the Hotel Ritz, aided by an old friend that
44:34
Speaker 1: she knew pre war, a certain Baron Hans Gunter von Dnklich.
44:43
Speaker 1: He was a German aristocrat. He was a member of
44:45
Speaker 1: the Prussian army, you know, before World War One, but
44:51
Speaker 1: before Germany became Germany, so like Prussia, Bismarck, the whole shebang. Anyway,
44:57
Speaker 1: he was there, and Baron von Dinklich he he had
45:04
Speaker 1: a special relationship with Madame Chanel and he was the
45:09
Speaker 1: one that made sure she managed to get an abode
45:13
Speaker 1: within the Hotel Rits. He made sure she got in
45:17
Speaker 1: there and they have an affair. Oh what you're You're shocked?
45:23
Speaker 1: I'm sure, are you shocked? This is shocking news. Fuck off.
45:28
Speaker 1: So we know now that many French military documents have
45:35
Speaker 1: been unsealed. Remember the Vertheimer brothers. Yes, the men who
45:40
Speaker 1: own the Chanelle perform. See, the Nazis were putting into
45:44
Speaker 1: law that Jewish people could not own businesses. You know,
45:49
Speaker 1: that thing was coming into France as well as everywhere
45:52
Speaker 1: else and Chanelle knew this was going to be happening
45:55
Speaker 1: again because of her shagging a Nazi, and so she
46:00
Speaker 1: starts petitioning the Germans to reclaim her sole ownership of
46:06
Speaker 1: the brand of the Chanelle perfume. So she was actively
46:11
Speaker 1: trying to get rid of her Jewish business partners in
46:14
Speaker 1: more ways than one. She basically put a target on
46:17
Speaker 1: their backs. So she tried to fuck them over. But
46:21
Speaker 1: the Wardenheimer brothers, they weren't idiots. They could see this coming.
46:25
Speaker 1: So Chanel writes to the government administrator in charge of
46:32
Speaker 1: Jewish assets, right, and she's like, I own it because
46:37
Speaker 1: Perform Chanel is still the property of Jews and as
46:41
Speaker 1: such had been legally abandoned by the owners, and so
46:46
Speaker 1: she was, you know, trying to reclaim it back. Unbeknownst
46:49
Speaker 1: to Chanel though, right, they had legally turned control of
46:55
Speaker 1: Perform Chanel to Felix Anniol, who was a Chris French businessman,
47:03
Speaker 1: and so they had transferred all the deeds to this
47:06
Speaker 1: dude in nineteen forty and she's petitioning in forty one,
47:09
Speaker 1: so she has no idea this has happened, because they
47:11
Speaker 1: were like, Nope, this ain't happening. So this legal battle continues,
47:17
Speaker 1: and Chanel hires the French Prime Minister's son in law
47:24
Speaker 1: as her lawyer to sue you know, the Verdheimer's. Luckily enough,
47:30
Speaker 1: in like after a while, they come to an agreement,
47:34
Speaker 1: but it doesn't change the fact that she tried to,
47:39
Speaker 1: you know, destroy two Jewish men. And if you think
47:45
Speaker 1: that's where it stops, oh no, it gets much worse.
47:51
Speaker 1: We don't know exactly why, but Chanelle had a code
47:56
Speaker 1: name Westminster and a German agent spy number F seven
48:03
Speaker 1: one two four. So the Germans invade France. She moves
48:09
Speaker 1: into a hotel where the Germans are. She then spends
48:14
Speaker 1: a lot of time with them, having affairs with them,
48:16
Speaker 1: tries to destroy Jewish people, and well, you know, it's
48:24
Speaker 1: funny women in France were punished for horizontal collaboration with
48:29
Speaker 1: German officers. Right. What would happen is they would get
48:33
Speaker 1: their head shaved and stuff and just humiliated and a
48:36
Speaker 1: bunch of other shit. They would be tried and everything.
48:39
Speaker 1: Many things would happen. This didn't happen to Chanel. Oh no.
48:45
Speaker 1: The moment the war was over, she puts this sign
48:49
Speaker 1: up in the store gate saying that Chanel number five
48:51
Speaker 1: is free to oh gis ha haha. And then she
48:55
Speaker 1: gets the hell at a dodge and fucks off to
48:57
Speaker 1: Switzerland so that she cannot be tried as a Nazi collaborator. Now,
49:03
Speaker 1: this to me does not seem like the actions of
49:07
Speaker 1: an innocent women. And what do you know, I'm fucking right.
49:13
Speaker 1: So she is involved in a third Reich plan to
49:18
Speaker 1: take control of Madrid like Spain. Like she's part of this.
49:25
Speaker 1: I think I'm going to go into Operation Model hut
49:28
Speaker 1: In like a separate Bitysoude because there's just too much
49:30
Speaker 1: of it going on. But basically, yeah, so she gets
49:35
Speaker 1: interrogated in nineteen forty four from the Free French Purge
49:38
Speaker 1: Committee and they're like, oh, we can't find evidence, and
49:44
Speaker 1: five fact, Chanell started telling people that Winston Churchill had
49:52
Speaker 1: her freed so that she would escape prosecutions so she
49:55
Speaker 1: wouldn't have to deal with this shit that she did.
49:59
Speaker 1: But yeah, post war, she ballocks off to Switzerland and
50:03
Speaker 1: you know how stays with her sometimes there, Barron Vaughn Dinkledge,
50:08
Speaker 1: that's right, that motherfucker is there with her. What So
50:12
Speaker 1: she's safe and relatively secure in Switzerland and she sells
50:16
Speaker 1: her Villa Lapaza because Switzerland's expensive, you need to have
50:21
Speaker 1: more money. AnyWho, business wise, things are, things are changing.
50:28
Speaker 1: So Dors come onto the scene with his new look,
50:31
Speaker 1: and Eddie's just overtaking everything. You've got all these like
50:35
Speaker 1: mill designers really taking over at this point. You've got Balenciaga,
50:39
Speaker 1: pige Fath Dire obviously, and she was like, she fucking
50:47
Speaker 1: hated these designs, you know, the sinsed, waste, the boobs,
50:52
Speaker 1: like the very feminine, the very lots of fabric, lots
50:57
Speaker 1: of shape. She despised this, and she was like, female
51:00
Speaker 1: designers will just rebel against this arg and you know,
51:07
Speaker 1: hm hmm, swear away. Chnail's like seventy or over seventy
51:11
Speaker 1: at this point, and her you know, her couture house,
51:14
Speaker 1: her a Mazon Cutillier has been closed for I don't know,
51:17
Speaker 1: nearly two decades, and she's like, I need to re
51:20
Speaker 1: enter the fucking fashion world. And Pierre Vertheimer, who oh
51:28
Speaker 1: how do I put this? Clearly did not hold a
51:32
Speaker 1: grudge and also liked making money and knew he could
51:37
Speaker 1: he financially just backs this comeback collection and so I
51:46
Speaker 1: put this so like a lot of a lot of
51:48
Speaker 1: the French press are really apprehensive to like comment on it,
51:52
Speaker 1: but like America and Britain bro all like, oh, look
51:55
Speaker 1: at Chanel, look at the clean lines. It's beautiful, it's amazing.
52:00
Speaker 1: And of course this is the creation of the Chanel suit.
52:06
Speaker 1: As she moved to the sixties and into like the
52:09
Speaker 1: early seventies, Chanelle's getting angrier and intense and not fun
52:17
Speaker 1: to be around. Tyrannical is actually the word that's used
52:20
Speaker 1: most often. But she is still living at the Ritz.
52:23
Speaker 1: She went back there because of course she fucking did.
52:27
Speaker 1: She is preparing the spring catalog and she goes for
52:30
Speaker 1: a long drive in the afternoon and she's feeling kind
52:36
Speaker 1: of shitty. She comes back and she says to her maid,
52:42
Speaker 1: you see, this is how you die, because she has
52:46
Speaker 1: her maid with her in the Hotel Rits. She then
52:50
Speaker 1: goes to bed and the very next day, Gabrielle Gogo
52:56
Speaker 1: Chanel passes away on Sunday, the tenth of January nineteen
53:01
Speaker 1: seventy one, at the Hotel Riots at the age of
53:04
Speaker 1: eighty seven. And frankly, she lived far too long for
53:08
Speaker 1: someone who was so much of an arsehole. You know
53:11
Speaker 1: how sometimes they say that you can separate art from
53:14
Speaker 1: the artists. I don't think that's the case here. If
53:19
Speaker 1: you look at any of Chanelle's designs, they're very austere,
53:22
Speaker 1: They're very right wing in their shape, Like there is
53:27
Speaker 1: no like she is clearly inspired by this, you know.
53:34
Speaker 1: So here's the thing. I love the perfume, Coco Mademoiselle
53:37
Speaker 1: Boy Chanel. I thought it was amazing, but I actually
53:40
Speaker 1: just stopped wearing it when you know, I learned initially
53:45
Speaker 1: about Chanelle's involvement, and then like a few years ago,
53:52
Speaker 1: I had discovered, you know, the situation with the Wrthheimer's
53:57
Speaker 1: and the fact that they owned the company. They're the
54:01
Speaker 1: ones who who had it. You know, they claimed it
54:04
Speaker 1: back and their descendants still own the fucking thing. So
54:08
Speaker 1: the very people she tried to destroy, they still own
54:11
Speaker 1: that company. And I say that as a massive fuck
54:14
Speaker 1: you to Coco Chanel and as such like that was
54:18
Speaker 1: the point I decided to start wearing the perfume again.
54:20
Speaker 1: And that's why I don't mind wearing chanell stuff, because
54:26
Speaker 1: she lost in the end. I mean I wish she
54:29
Speaker 1: lost harder. And as a woman, I have heard the phrase,
54:34
Speaker 1: you know, Coco Chanel always says to take off one
54:37
Speaker 1: accessory before you leave the house, and to that, I say, nah,
54:43
Speaker 1: I had another one on and another one. Where as
54:46
Speaker 1: many accessories as you fucking like, shove a crown on.
54:49
Speaker 1: It doesn't wear whatever the fuck you want, because fuck minimalism, focusterity,
54:55
Speaker 1: fuck Coco Chanel. Frankly she should go choke on a
54:58
Speaker 1: bag of Nazi dicks, the fascist love and twat waffle. Okay,
55:05
Speaker 1: so that's today's tail. If you liked my retelling of
55:09
Speaker 1: this piece of history, feel free to rate and review
55:12
Speaker 1: five stars on Apple Podcasts, Spotify, or wherever you listen
55:15
Speaker 1: to podcasts. When you rate and review five stars, it
55:18
Speaker 1: really helps me on the business end. It really pushes
55:20
Speaker 1: me up the charts and it gets more people seeing
55:24
Speaker 1: this podcast, and it will really really help me. It
55:27
Speaker 1: absolutely will. And you don't have to say anything, but
55:29
Speaker 1: you could write anything in there. It doesn't matter. You
55:31
Speaker 1: could insult me, it really doesn't matter. I mean I
55:34
Speaker 1: do love compliments, so there is that. But anyway, yes,
55:39
Speaker 1: I should give you some recommendations. So reading recommendations, I'm
55:47
Speaker 1: going to go with ooh, Advice from Strangers by Rachel Paris.
55:55
Speaker 1: It's just a good read. For listening, I'm gonna recommend
56:00
Speaker 1: the podcast Trashy Divorces. Just go you're gonna love it,
56:05
Speaker 1: trust me. And for watching, Let's not pretend that the
56:10
Speaker 1: Bruneissance has passed us by. Just watch as many Brendan
56:15
Speaker 1: Fraser films as you can. I'm talking Blast from the Past,
56:19
Speaker 1: George of the Jungle, the Mummy, the Mummy Returns. We
56:22
Speaker 1: don't talk about the third one. It's not good, so
56:25
Speaker 1: then go watch them. And also Doom Patrol. I mean,
56:29
Speaker 1: you don't get to see his face, but he's funny
56:31
Speaker 1: in it. If you like weird things, you like Tom Patrol.
56:34
Speaker 1: But yes, Breneissance anyway, I am going to go now
56:39
Speaker 1: and I will chat to you again. Sing Adios au
56:43
Speaker 1: revoir of Where Is My Friends? A Bubba