“IT IS THE RUSSIANS
WHO HAVE TAUGHT
WOMEN THAT IT IS
NOT DISHONOURABLE
TO WORK. MY GRAND
DUCHESSES WORKED
FOR ME AS KNITTERS”
— GABRIELLE “COCO” CHANEL
againinBiarritzalmostadecadelaterand had “a brief and
intenseaffair”.
Themeetingofmindswasfurtherreinforced by
countlessotherartistsshemetalongtheway including
Stravinsky,Diaghilev,aswellasthedancers and
choreographersofBalletsRusseswhowere all fleeing
theRussianRevolution.Itwassaidthata“RussianParis”
unfoldedduringthisperiod,andthatareaswithinthe
15thand16tharrondissementsbegantotake on a Russian
flair.Itwastheserendipitousencounterscoupled with this
pivotalmomentinhistorythatcemented Coco’s affinity
withRussia,athemeseeninhercreations in the 1920s and
thatpermeatesthehouse’sdesignlanguage to this day.
HIGHLIGHTREEL
ThispartofCoco’slifewasthestartingpointfor
PatriceLeguéreau,directorofChanel’sjewellerystudio,to
createthe69-piecehighjewellerycollectioncalledLeParis
Russede Chanel. “Everything starts from an idea, and in
this case it was Coco’s intense fascination with Russia,
which I put to paper. I always create a large number of
sketches and from there we see what can be realised. For
one final design, there are 10 to 30 drawings behind them.
I like to keep the door open at first, and close them by
choosing to do a precise number of pieces,” he shared.
Apart from delving into Coco’s personal history,
Leguéreau also made it a point to visit Russia when the
Blé Maria tiara in yellow and white gold
with pink spinels, mandarin garnets,
coloured tourmalines and diamonds
(above); Medaille Solaire transformable
necklace in white and yellow gold with
diamonds (top right)
Gabrielle
Chanel and the
Grand Duke
Dmitri Pavlovich
(above right) in
a photograph
taken in 1920; the
Grand Duchess
Maria Pavlovna
in costume
circa 1910
(right) opened
an embroidery
workshop called
Kitmir; a sketch
of the Folklore
bracelet in white
and yellow gold
with enamel, blue
and pink sapphires,
mandarin and
tsavorite garnets,
cultured pearls and
diamonds (below)
singapore tatler. october 2019 135