Coco Chanel by Lisa Chaney

in earlier literature.
    In the provocatively unorthodox Claudine, Colette had captured something in the contemporary mind, and literary versions of the character became common in literature. Nothing like the seductive and majestic grandes courtisanes , this younger woman, with her unripe allure, had an edgy, anarchic femaleness, her ignorance and unself-consciousness liberating her from constraint. In the future, a man of experience would write, “Today, I miss . . . the time one spent waiting. The penitence and the continence that society imposed on us imparted an unbelievable flavor to the opposite sex, and they conferred something sacred that has been lost.” 1 In contrast, devoid of cultivation, Claudine was confrontational, revealed her confidence in a caustic sense of humor, cared little for tradition and was utterly impervious to the notion of maturity. While encapsulating an important aspect of the sexual flavor of the period, the anarchic Claudine would also emerge as its most unsettling female image.
    There is no doubt that Gabrielle’s particular allure lay somewhere in this mold.
    Nevertheless, for all the apparent unorthodoxy of Royallieu, she had no more real scope than any traditional mistress. She was “kept” by Etienne, and with her solemn elfin beauty, in photographs Gabrielle often looks fiercely at the camera with an air of studied defiance. Whatever Claudine’s influence, like other women with any ambition, Gabrielle was faced with “a choice as dramatic as it was contrived: between retaining the prestige of their femininity, which left them at the mercy of their men; and renouncing it for the sake of man’s autonomy . . . which set them adrift in an environment hostile both psychologically and economically to emancipated women.” 2
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    The constant stream of visitors to Royallieu brought a cheerful mix of aristocratic sportsmen, stars of the turf, actresses, singers and demimondaines—young people whose lives revolved around entertainment of one kind or another. Etienne’s friends were strongly discouraged from showing up at Royallieu with their wives. Mistresses were preferred. But if Etienne’s life appeared a carefree round of riding to hounds and house parties, this omits an important detail: in many ways, he wasn’t a carefree soul at all. While his love of playing the fool went in tandem with an aversion to emotional responsibility, in fact, a vein of absolute commitment ran seamlessly through his life: Etienne was dedicated to horses. He knew them, loved them, understood their foibles, their worth, and was capable of fierce competitiveness about them too. When purchasing one or taking part in a race, he was a formidable adversary. As a result, his rise to prominence as both trainer and gentleman rider was rapid, and would eventually make him one of the most famous horse breeders in France. His obsession also left Etienne prepared to live in the country, something most young men of his status were loath to do.
    The country house to which he brought Gabrielle was a handsome one. First a hunting lodge for kings, it became La Maison du Roy and, eventually, simply Royallieu. A priory, then an abbey, it was extended and altered over time. Finally, the château became a stud farm, which perfectly suited Etienne’s needs. Royallieu was close to the Chantilly racetrack, in the province of Oise, regarded as the best purebred training ground in France.
    At Moulins, while the rich young officers had been flattering and fun, the reality of Gabrielle’s life had been servitude as a lowly shop assistant, with lodgings in a poor part of town. At Royallieu, she experienced for the first time the elements of grandeur, and also a certain public notice. While never the mistress of the house, she was to remain there as Etienne’s irrégulière for several years to come . Absorbing the standards and conventions of Royallieu, however, was a