House of Chanel is owned by Gerard and Alain Wertheimer, grandsons of Pierre Wertheimer, who founded the company, with Chanel, in 1924, two years after he, and his brother Paul, had helped bring Chanel No.5 to the marketplace.
The English millionaire Edward ‘Boy’ Capel gave Chanel the money to start her own millinery business in Paris in 1910. He died in a road accident in 1919. Chanel did not marry but founded the world’s most successful Fashion house and the Chanel connection goes beyond No.5. When the fragrance ad aired, Anne Fontaine’s Coco avant Chanel movie, starring Tautou as the young Coco, appeared in French cinemas, in 2010.
Opening with a dark-eyed girl on a cart, covered in a thick, bronze, tweedy blanket with a hand-knitted doll, we see the landscape from her point of view and the fabric textures in close-up. It was going to be about needlework? Mais, non. Distinguished, on the DVD cover, as a story of a woman whose love affairs defied convention, it really is rather more about sewing. It has all the hallmarks of French cinema and not just because of the subtitles. Sweeping views of the expansive, so Impressionist, countryside; clever, adventurous camera angles, drawing us in, to feel how the young Chanel is both exploited and exploiting.
Audrey Tatou’s deft involvement with the process of making clothes and observing humanity is at the heart of the film’s alchemy. It mixes class drama with professional aspiration to create a modern day transformation. Cinderella invents her own ballgowns and buys the Fashion house where they are made and shown.
It convinced me that Fashion designers put their souls into their output. It condensed the Fashion system into 106 minutes of doubly moving image text. In spectacular form it sets the scene for an integrated cross-marketing campaign, where the Ad sells the film and the film sells the product.
When we thrill to the Chanel No 5 current television commercial we relive Coco Chanel’s life as a young adventurer. As Audrey Tatou moves through the corridors of the Orient Express in lithe gold satin, hoping to find her lover’s arms, Coco’s doomed love affair with Boy Capel is re-evoked. As the actress rushes towards the beach and views passengers on a luxury ocean-going liner, ‘la mer,’ and the French, and Coco’s, infatuation with the sea becomes part of Chanel’s signature themes, associated with the voyage and the clothes worn for the journey.
Of course Coco Avant Chanel is a woman’s film. Directed by Anne Fontaine, and costumed by Catherine Leterrier, it has links with the Feminist tract, ‘The Subversive Stitch.’ Yet it speaks of elegance, observation, fame, the significance of Fashion and the power of dress to alter the way we see ourselves and are seen by others.