Gabrielle Chanel Fashion Manifesto

" She (Chanel) did not evolve. Rather fashion evolved around her." - Prudence Glynn.

To the Victoria and Albert Museum for the hottest ticket in town - Gabrielle Chanel Fashion Manifesto - a sell-out blockbuster of an exhibition to rival that of the other French fashion house Dior, held previously at the museum here and a prior exhibition on Chanel - Mademoiselle Privé (here) held at the Saatchi Gallery. It is an interesting choice of exhibition given the provocative statement alleged to have been made by Dior that "a woman could never be a great couturier.” Chanel more than rose to the challenge on the evidence on display here though, which features more than 200 dresses, suits, handbags and jewelled accessories, all designed under the tenure of her leadership of the fashion house. Born illegitimately into poverty 1883, Chanel was placed into a convent at the age of 11 on her mothers death and was then taught to sew by the nuns. The stark beige, black and white colour of their habits was adopted as the colour palette of choice by Chanel. After leaving school Chanel worked as a seamstress and was taken up by a mentor, Étienne Balsan who encouraged her talents, before moving on to being backed by Arthur “Boy” Capel, her English lover with whom she opened her first boutique in Paris. Others followed in Deauville and Biarritz before the establishment of the Chanel flagship store at 31 Rue Cambon in Paris. Here the established Chanel brand became synonymous with modernity and sold sportswear, pyjama suits and a series of black dresses, (black had previously been worn mostly for mourning in female attire), as well as a series of fragrances including the iconic Chanel No. 5 scent, all of which can be seen first-hand in this exhibition. Surprises in the exhibition include the display of documents revealing the contradictory nature and duality of Chanel's position in wartime which saw her actively collaborate with the Nazis and yet also participate in the French resistance. She did what she did to survive and get ahead. The exhibition opens with an imprint of Chanel's hand, perhaps indicative of the stamp she made on the world of fashion. As for the clothes themselves the first piece encountered in the exhibition is a 1916 “marinière blouse”, a cream silk-jersey top based on something similar the fishermen of Deauville wore. It has simple lines and most of all was elegant but comfortable to wear, a theme and aesthetic which was become the Chanel trademark. Another Chanel trope was the skirt suit often in her signature tweed fabric. The room containing 54 examples of these suits set on two levels in the middle of the exhibition is absolutely stunning. Other highlights displayed here sees the inclusion of period woollen bathing costumes which Chanel created for the Ballet Russes production of Le Train Bleu, and also the exhibition finale room which faithfully recreates the iconic mirrored staircase of the Chanel flagship store at Rue Cambon. Although not as visually stunning to my eyes as the previous Christian Dior Designer of Dreams exhibition held at the museum, Gabrielle Chanel Fashion Manifesto nevertheless is beautifully presented with some iconic outfits. It is an exercise in style, and documents Chanel's determination and strength of character to rise from the adversity of her beginnings to become leader of global brand. So popular has the exhibition been that it has been extended for a further two weeks. Catch tickets if/whilst you can!

Gabrielle Chanel Fashion Manifesto

until 10th March 2024

Victoria & Albert Museum

Cromwell Road

London SW7