a pioneer of women’s liberation

174

A Pioneer of Women’s LiberationJerca Legan Cvikl, PhDFemmesSansFrontièresFoundation,Slovenia

Abstract

GabrielleBonheur“Coco”Chanelisacreativeiconwhohasfreedthe‘new’womanfrom the millennium of dictated dress codes, stereotypical behaviors and clichédsexual and status simplification. The little black dress has become synonymousof sophistication, to the femininity she gave the character flavor of relaxation andempoweredwomenwithtimelessclothingpiecesandequippedthemwithinspiringpiecesofjewelry,distinctivedecorativeaccessoriesandboldfragrances.Sincethen,with the Chanel fashionwomenwere able to step sovereignly and freely aside ofmale.Cocoresistedthereservationofclothinganddecorativepiecesandfabricsasexclusivelymasculine in order to help revolutionarywomen on their journey to amoreamoreusefuleleganceandamorenoticeablefatality.Withoutanydoubtshesucceeded.Shegavethenewwomanwhatshecouldnothavebefore:practicality,youthfulness,timelessnessandfreedom,whichwasoftenscandalousatthetimeofhercreation.Butithaspaidoffwitharevolutionintheclothingindustryand,moreimportantly,withahistoricstepinliberatingthemodernwoman.

Keywords: emancipation; femininity; sophistication; practicality; freedom;empowerement.

Introduction

Themorewediscovertheveilsofnarrativesandrecordsofstrong,penetrating,andgenerallysociallyengagedwomenthroughouthumanhistory,themorewefindthattheir legacy has decisively influenced the development and emergence of societyand culture, includingmodern ones. Gabrielle Bonheur “Coco” Chanel is certainlyamong the creative icons that has freed woman frommillennia of dictated dresscodes,archetypalpatternsofbehavior,andclichédsexualandstatussimplification.The little black dress became synonymouswith sophistication, gave femininity thecharacterofrelaxation,andempoweredthewomanwithtimelesspiecesofclothingandequippeditwithinspiringpiecesofjewelry,recognizabledecorativeaccessoriesandboldfragrances.“Fashionpasses,styleremains,”1shesaid.Inheroeuvre,shedidnotforgetabouttheaterandfilm.

1Lamodesedémode,lestylejamais.Fashionpasses,styleremains.CocoChanel’sstatementontheephemeralityoffashioncanbefoundinanumberofpublications(Cosgrave2012:155).

J. Legan CvikL - a Pioneer of Women’s Liberation 175

Liberating Women of the 20th Century

Here and now, we try to deliberately avoid discussing Coco Chanel’s supposedlycontroversiallifetrials,suchasflirtingwithmilitaryideologyorunconventionalityindealingwithpartnershipsandfamilyrelationships,orencroachingonillicitsubstances,although they undoubtedly left visible traces on her creative excesses.We preferto focuson itsmost important socio-cultural contribution.On the lineofhistoricaldevelopment,CocoChaneltookplaceatatimeofsocialupheaval,inthepost-worldwarIperiodatthebeginningofthesexualrevolution,whichlaterincludedthefreechoiceofmarriage,greatereconomicindependence,legalizationofdivorceandfreelifestyles,whichwereexpressedprimarilybydressing.Timeprovidedanopportunitytoshapeone’sownindividualismwhentheexternallymediatedbiographycharacteristicof traditional society begins to withdraw the internal, self-reflexively shaped onecharacteristicofmodernsociety.Cocoknewhowtoequipthemwithpioneeringandcultfashionforabolderandmorerelaxed,andespeciallyliberatedwomenofthe20thcentury.

Modernsocietyisasocietyofthefashionindustryinwhichfashionisamasssocialphenomenon. “Women certainly have the greatest credit for the development offashion, especiallywith thedemocratizationof themassesof the20th century, aswomenplayanimportantroleinmodernconsumption”(Koenig1967:131).ButeventhisKoenig’sclassicsociologicaldefinitionCocoChanelmanagedtotaketoitsownmill,asitpersuadedpotentiallyincreasinglyfreewomentospendontimelessandcharactertrends,otherwiseawayfromtheshapelessdemocratizedmassesasaresultof theindustrial revolution. Ifwehad touseonlyonedefinition forher fashion, itwouldbeconsistentenoughwiththeoriginalFrenchnaming-thephrasefacon de parler, whichmeans“wayofexpression,communication”(Barnard1996:7-10).Andiftherewasafashiondesignerthatknewindetailshowtocommunicatewithfashioncreationsbecause it came from her originality, spontaneity, experience, independence andvision,itwasdefinitelyCoco.

Self-assertion reflection

As an orphan from the convent, Gabrielle Bonheur Chanel first had to experienceherself inpatchingupherown torn life story,whichwasfilledwith contradictionsandintrigues.2Butfortunatelyallwasovershadowedbythegreatcreativetalentshedisplayed.AstrictandfrugallifewithnunswhotaughtGabriellesewing-askillthatsheperfectedandgaveheranewimpetusforthecreativepath.Witheverythingshe

2Chanelwastheseconddaughterofawasherwomanandtravelsaleswoman.Shehadfoursurvivingsiblings.Whenthefatherhiredtwosonstoworkonthefarm,he lefthisdaughtersGabrielle, JulieandAntoinetteintheorphanageoftheconvent inMoulinsafterthedeathoftheirmotherin1895(Charles-Rous2005:50–60).

176 aCademiCus - internationaL sCientifiC JournaL WWW.aCademiCus.edu.aL 176

did,3shecreatedherownlifestyleandbegantounderstandthefemalesoulinrelationtothemanshewasconstantlyandeverywheretryingtogetintoherownjob.Ataveryyoungage,shesetherselfacleargoal:adignifiedlifeandassertioninhighsociety.Shetookcareofbothofthemonherownwithagreatdealofdetermination,afearlesscharacter,anuncompromisingstruggleforempowerment, innovativecreativityandmotivationinrelationtoallofhersuccessfulmen4 (Chaney2011:48–72).

ForCocoChanel,connectingwiththetheneliteandsociallyinfluentialindividualswascrucial.Afterdifficultbeginnings,maleadmirershelpedhertodevelopthebusinessinthe1920sandsoonafterwardssheopenedfashionboutiquesinelitecoastalresorts.5 Inspiredbymen’sfashion,shebeganexperimentingwithwomen’sjerseyclothingandsofter,free-fallingfabrics.Forthevisionaryforthefashionliberationofwomenasshewas,by1919thebusinessinPariswasbooming.

At the same time, the fashion and later the global world was marked by the CCmonogram, which was designed by the visibly already established Coco.6 Coco self-reflexivelyofferedthewomaneverythingshecouldnothavebefore:relaxation,practicality,youth,timelessnessandfreedom.Shemadearangeofcasualsweatersandknitjackets,simplebusinessblousesandshortskirts.Eveningdressesweremoreglamorous, but did not deviate from the basic stylistic simplicity. Chanel fashionbecamesynonymouswithusabilitywhen thecostumegota sophisticatedlyplacedhorizontalpocketandaround-cutcollar,bywhichitisstilltoday,withoutexceptioneasily recognizable. Clothing pieceswere a notion of youthful effortlesswear, butequippedwithhigherpricetags,asCocotargetedprimarilytheconsciousandliberatedmembersofthewealthierclasses(Hennessy2012:249).

TheCocoChanellifestylealsosuggestedaspecificandrecognizablechoiceofcolors.Withher collectionsof clothingand fashionaccessories, shemostoftenpromotedapaletteofshadesofgray,blackandwhite,navyblue,andremainedanenthusiastofbeige.All thecolorsexpressedadeterminedwomanwhocouldsovereignlyand free-spiritedly step alongside male challengers. Coco was a master of accessorieswith which she maintained femininity and sophistication with femininity. Gold-platedbuttonsandbagswithagold-platedchainwerealsoamongtheinvigoratingaccessories.CostumejewelryforwomenwhoadmiredChanel’sstyle,however,was3At18,sheleftanorphanageandworkedasaseamstressinashopduringtheday.Atnight,shesangatalocalnightclubtomakea living,wheresheearnedthenickname“Coco,”which isanabbreviationoftheFrenchword ‘cocotte’andmeans ‘detainedwoman’(ibid.:88).4 Financial independence and self-awareness of her early life trials encouraged her to have relationships with high-profile,influential,butatthesametimecontroversialmen.AmongthemwerePicasso,Cocteau,andStravinsky.Shehadmoreintimaterelationshipswiththesevenandissaidtohavedirectlyinfluencedherinspirationandbusinesssuccess.5 Fashionboutiquesalong the coastal citiesofDeauville andBiarritzencouragedCoco to create fromdifferentmaterials, tostylisticallytransferfromafreemantoafreewoman,soshemovedwithherbusinesstoParisonRue31Cambon,whereChanelstilllivestoday.6ItisnotentirelyclearwhereCocoChanelgotitsinspirationforitsdoubleClogo.ThesamelogoislocatedinthestainedglasswindowoftheChâteaudeCrématinNice(France),whichCocoChanelhasvisitedseveraltimes(Click2019).


notonlyacceptable,butevenhighlydesirable.Herpioneering role inempoweringwomen was joined by innovation in combining real gemstones and artificial stones-famouspearlswereherfavorites(ibid.2012).WearingthesealongwithaskirtsuitandthefamousChaneljacketwithacroppedcollarwaspopularizedeveninthe60sbytheUSFirstLadyJackieOnassis,asshewasabigfanofstylefortheliberatednewwoman.Ifnotsooner,inthesecondhalfofhercreativelife,itbecameclearthatGabrielleBonheurCocoChanel,withherstylisticpurity,precisionandinnovativeness,hadestablishedherselfasthefashioniconofthecentury.

Liberation of gender identity

“Menact,womanappear”isBerger’sfamousthought,whichillustratestheasymmetryofgenderidentityduetotheactivityofmenandthepassivityofwomen.Theroleofthemanistoobserveandexploretheoppositesex,whiletheroleofthewomanistoallowherselftobeobservedandexploredbytheoppositesex(Berger1982:13).Dressinghasplayedanimportantroleinthisthroughouthistory.Barnardwentevenfurther,asaccordingtohim“…amanshouldweartrousers,awomanaskirt,aman’scolorshouldbeblue,andawoman’spink”(Barnard1996:110-119).Atthesametime,hetriedto europocentrically define that ‘feminine’ is synonymous with shyness, diligenceand politeness, and ‘masculine’ is synonymous with aggression, domination andemploymentoutsidethehome(ibid.).

But if fashionhasalwaysbeenprimarily away to constitute, signal and reproducefemininity ormasculinity, Coco Chanel has decided to take the ingrained codes ofgenderidentityintoherownhands.Shegavetotheindividualisticunderstandingoftheworldanadvantageoversexualidentification,whentheidentityofanindividualisnolongerpartofthenaturalandpredetermined,butareflectionofapersonalandafreedecision.AsDescampswouldconclude,itisonlythatliberatedwegovernourpsycho-social appearanceand influence thebroader social perceptionofourselvesasindividualandequalbeings(Descamps1979).Cocothereforeresistedthereticenceofsomekeyclothinganddecorativeitemsasexclusivelymale,inordertorevolutionizewomenonthepathtowardsmorecomfortablefemininity,moreusefulsophistication,andmorenoticeablefatality.Shedefinitelydidit.ShehassucceededgivenofallofChanel’s iconic pieces, that have survived decades of fashion trends and seasonalcollections,astheyremaininscribedinstylistictimelessness.

Because the struggle for gender rights and freedoms has a long and importanthistory,dressingalongwith languageasexpressivecodeson thispathhasbeenofparamount importance.Dressesappearas“wordsthatwecombine intosentenceswithourimage.”Withthem,theindividualcommunicateswiththeenvironment(Lurie1981:5).Withherclothingexpressiveness,Cocohelpedwomenonthepathofsuchcommunicationandthewidestpossiblesocialliberation.


Withinthepluralisticconceptionofculture,wecometounderstandfashionasaspecificwayoflifethatsatisfiestheneedtochangeculturalactivitiesandlivingstandards.“Fashionandclothingmarkandheraldsocialandculturalrealities.Theyactasartifacts,practicesand institutions that constitute social consciousness, values, ideas and experiences”(Barnard1996:36).WithChanel’sclothingculturethatwaseventuallyinstitutionalized,socialconsciousnesshaschangedinunderstandinganewwoman,strongandindependent,withnewvalues,ideasanddesires,awomanlookingintothefuture.

Asonlyrarefashiondesignershavesucceeded,amongthemthefamousFrenchmanJeanPatou,CocoChanelhasfreedwomenfromformalisticclothingforthenextcenturies.AlthoughCocowasmarkedbycreatinginthepost-warspirit,shewastheoriginatorofthecreationofthemodernistwomanandinfluencedlatermanyfashiontrends.BeforetheFirstWorldWar, in1910,sheopenedthefirsthatshopinParis,whichattractedmanyunconventionalwomen,andrepresentativesofthesocialelitealsobegantoflirtwithherfashion.Inthe1920sand1930s,shedevelopedarecognizableclothinglinethat,withcleversimplificationshithertoseenonlyinmen’sfashion,followedthesoberandcollectedusabilityofpost-warclothing(Cosgrave2012:18).

Thewomentookcourageand literallyadoptedtherelaxedChanel jerseyandtweedsuits,untilthenreservedforsailors,aswellasthelaterrationalshifttorelaxedshirtsandwide-bottomedpants,untilthenreservedformen.Thearrivalofthelittleblackdress,untilthenreservedformourning,resonatedfordecadestocome,morecasualshorter skirtsweresnatched,Slavic linesofwomen’scostumeandcostume jewelry,untilthenreservedforthewealthiest,andfashionaccessories-jewelry,handbagsand perfumes - theyhavebecomea trademarkof thenewwomanof the20thcentury.Chanel’s fashion pieces brought a timelessness of relaxed appeal and for decadesremainedareflectionoftheairyyouthfulnessandeffortlesscharmembodiedbyCocoChanel. Not surprisingly, Coco Chanel is the only fashion icon to be listed by Time magazineasoneofthe100mostinfluentialpeopleofthe20thcenturyandwasrankedamongthe50greatestwomenwhohavehistoricallychangedtheworld7 (Horton2007:103).

Cults of attractive relaxation

ForCocoChanel,fashionwasmorethanjustacommandmentlivinginclothing:“Fashionisinthesky,onthestreet,fashionisrelatedtoideas,thewaywelive,whathappensaroundus”(Hennessy2012:248).Becauseshecamemainlyfromherboyishfigure,Chanelintroducedawide-rangingapproachtofashionwiththecommandmentsofotherwise“masculine”comfortandeaseofwearing,whichmarkedthe“new”woman.Herownwayoflifeandappearanceembodiedmodernistideals,supportedbystrongpublicity,7OtherwomenwhohavemarkedhumanhistoryincludeCleopatra,MaryMagdalene,CatherinetheGreat,ElizabethI,EmmelinePankhurst,JaneAusten,AmeliaEarhart,MarieCurie,FlorenceNightingale,MotherTheresa,VirginiaWoolf,EleanorRoosevelt,HelenKeller,AnneFrank,KatharineHepburn,SimonedeBeauvoir,RosaParks,EvaPeron,MargaretThatcher,MarilynMonroe,GermaineGreer,BillieJeanKing,OprahWinfrey,MadonnaandPrincessDiana.


whichthenandforevergaveherasolidandiconicstatus.Withhercreations,CocoChanelhasforeverchangedthewaywomenunderstandthemselvesand“howtheybehave”.Andsheunwaveringlybelieved ina transformationsothateventhepoorcouldbewornasmillionaireswithhercreations(Pendergast2004:792).

Atightcorsetjustbecauseit’ssociallyacceptable?ButnotwithCoco.DuetoChanelfashion,womenwere no longer a decorative object and awealth ofmen, but onthe right path towards independence. With her unique, rebellious attitude andrecognizable clothing, decorative accessories and fragrances, she demonstrated towomenthat theycanbe free ineveryway - if theyarewilling topaytheprice forfreedom.Despitemanysocialcriticisms,Chanelhasalwaysdefendedherfashionandviewofthings,whichwasoftenscandalousduringhercreation,butultimatelypaidoffwitharevolutionintheclothingindustryand,moreimportantly,withahistoricstepinliberationofamodernwomen.

Jersey

Cocowasthefirstfashiondesignertouseafabricreservedformen’sunderwearforwomen’sdaywear.Jerseywas,inherview,simple,practical,andcomfortable,andinherfinalChanelcreationtheperfectantithesisofwhatwomen’sclothingusedtobe:complex,exaggerated,anddesignedaroundanuncomfortablecorset.Thechoiceofmaterialwasalsosubjecttothetime,astherewasagreatshortageofmoreexpensivefabricsduetothewar,whichCococouldnotaffordatthebeginningofhercareer.Inhersimplifiedcreations, thewomen lookedmoreandrogenic,boyish,as the jerseywas free-falling, but the freedom they felt while wearing was irreplaceable andunstoppable.Therevolutionforwomen’sfreedomwasalreadyonthemarch.

Costume

Aswe note, Cocowas among the first to look for inspiration inmen’s clothing tocreatewomen’siconicfashion.OneofthemostrecognizablecreationsistheChaneltweedcostume.Thejackethasaround-cutcollarwithknittedlinings,three-quartersleeves, and is adorned with metal buttons, with an accompanying flat-cut and tight-fittingskirtovertheknees.Suchacostumewouldbetheperfectchoiceforapost-warwomanlookingtobuildacareerinamale-dominatedworkplace.Chanel’scostumewasfavoredbymanycelebritiesandcultwomen,suchasAudreyHepburnand Grace Kelly, and it went down in history foreverwhen it wasworn by JackieKennedyonthedayofherhusband’smurder.Ofcourse,thereweresomeotherusefulversionsofChanelcostumesthatwerecombinedwithothergarmentsandadornedwithtypicalChaneljewelry8 (Laver1995:272–275).8TheclassicChanelcostumejackethadfourpocketswithastraightnecklineathipheight.Itcouldbewornopen,withalongerchainatchestheightorevenuptothewaist,usuallyonasingleclaspwithametalbuttonorasimplezipper.Theliningofthejacketshouldmatchtheouterfabricorblouse.WithaclassicChanelcostume,apastel-coloredblousewithasilkcollarwasmostoftenworn.


Pants for women

Coco loosened the belts of the dresses, shortening the skirts to make themmore useful. And then came the moment to revalue the hitherto male piece of clothing-trousers.Althoughwomenoftenhadtoweartrousersduringthewarwhenperforming traditionalmen’s chores, Chanel played a large role in promoting theirpopularityasawomen’spieceoffashionclothing.ItstartedonthebeachofDeauvilleresortwhenshedidn’twanttobeexposedanddecidedtowearsailorpantsinsteadofaswimsuit.Thestylespreadrapidlyasshewasimitatedbymanyfemalefollowers.Sheborrowedmasculinerelaxationandsovereigntytomodernizewomen’sfashionbywearingpantsandintroducingfunctionalsportswear.Shelaterpubliclyregrettedthatherdecisioninfluencedthecourseoffashionhistory,astodaytoomanywomenwearthemeventoagaladinner(ibid.1995).

Little black dress

Chaneloncesaidofherfashionablehatsandloose-fittingclothes,thedesignofwhichwasinfluencedprimarilybyherlifedesires:“Luxurymustbecomfortable,otherwiseitisnotaluxury.”9Andsoonanewitemofclothingappeared,whichdidnotgiveherpeaceofmindandshetackled it.Atthetime,thefashionablerainbowblueswornbyherclassmatesupsetherquiteabit:“Thesecolorsareimpossible,women,Iwilldressyouinblack!”(Montalembert2011:63)Today,itishardtoimagineaworldwithoutblackasflawlesseleganceinchoosingadress,butbeforeChanel,blackwasreservedforfuneralsandmourningwidows.Cocorevivedtheblackdressinanewimage,sothatthelittleblackdress(PRN-petiterobenoire,LBD-littleblackdress)becameamoderncocktaildressandacultpieceofthenextcentury.Shealsoaddedthefamouswardrobe clasp,whichwas published in 1926 in Voguemagazinewith a sketch ofa simple black dress and labeled it “a ray thatwould beworn all over theworld”(Pendergast2004).

Jewelry

FrenchdesignerPaulPoiret(1879-1944)wasamongthefirsttousecostumejewelryinhiscollections.ButtherealtrendhappenedwithChaneljewelrywhenCocopresenteda match of counterfeit large pearls along with precious stones. The decorativeextravagancewastheperfectaccompanimenttoherminimalistclothing.Thefashionguruthoughtitwasbesttohaveabunchoffakegemsandoneortworealones,withallofherwealthyandpetiteclientsagreeing.Althoughthecounterfeitjewelrymarketexistedbefore,itwasreservedforthosewhocouldnotaffordarealgemstone.WithChaneljewelryhasbeendifferenteversince.

9Leluxedoitêtreconfortable,sinoncen'estpasduluxe.


‘Suntan’

In theearly20th century,pale skin thatwasoccasionallyandpartially tannedwasassociatedwiththelowerstrata.In1923,however,CocoChanelmadethesunarealfashionhitwhenshereturnedfromacruiseontheFrenchRivieratoPariscompletelytanned.Everyoneadmiredherdarkercomplexionandhurriedtofollowthisnatural‘disguise’.‘Suntan’hasbecomeasignofwealthandbeauty,atrendwithlastingeffects.So,Cococanalsobethankedforthepopularityofsummertannedskin.

Perfume

The1920swereimportantforliberatingawomanwithaboldinspirationcarriedbynewfragrances.Untilthen,theyweremadefrompureextractsofindividualflowers,soChanelperfumebecameaconceptofauniquefragrancethatcombinedandblendedtwodifferentscentsincreatingperfumenumber5.In1920,10CococreatedChanelNo.5,thefirstodorthatdeliberatelysmelledartificial.Itwasalsomadefromunnaturalingredients, unlike regular perfumes that were created with floral ingredients.Although the aforementionedPaul Poiretwas thefirst fashionhousewith its ownperfume scent, the designermissed out on themovewhenhe declined his nameonthebottle.Chanelwasavisionarywiththesoulofafreemodernwoman,sosheimaginativelyputhernameonperfumenumber5andChanelNº5rapidlyexpandedintonewmarkets.Tothisday,theChanelperfumelinehasmaintainedareputationforcultscentsthatarehardtooverpower(ibid.2004).

“Younoticeadresswhenawomanispoorlydressed,whensheisdressedflawlessly,younoticeawoman,” (Cosgrave2012:138) isathoughtthatcatapultedCocoChanel tooneofthegreatestcreativeiconsinhumanhistory.Andherlegacythereforeremainswithus.

10Theoriginoftheperfumedatesbackto1920,whiledistributionbeganin1921(Tilar2012:97).


Photography

Figure 1: Relaxed sophistication of Chanel from jersey and silk, April 1926

Figure 2: Coco Chanel in her element, in the famous fashion salon at Rue 31 Cambon in Paris


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Photography

1. Figure 1: LAVER, James (1995): Costume and Fashion. London: Thames andHudson(quotedonFebruary20th2020).

2. Figure 2: HENNESSY, Kathryn (ed.) (2012): Fashion: The Definitive History of Costume and Style.NewYork:Smithsonian.

a pioneer of women’s liberation

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