Coco's crush: Chanel's century-long love affair with Britain and its men

Gabrielle Chanel’s love affair with Britain began as a love affair with a British man (or two).

Arthur Edward ‘Boy’ Capel (1881-1919) was a businessman, polo-player, shipping magnate and muse. He was also the first investor in Chanel’s business and his sporting wardrobe inspired her early experiments with jersey fabric — which became one of the defining features of her work. In 1923, four years after Capel’s accidental death, a second British gentleman, in the shape of Hugh Richard Arthur Grosvenor, 2nd Duke of Westminster (1879-1953), entered her life, and altered things forever.

During their decade-long relationship, Chanel frequented the Duke’s properties in Cheshire, London and Scotland, and got stuck into traditional English country pursuits such as hunting, horse riding and fishing (which she mastered with aplomb). She also, importantly, appropriated her lover's clothing, finding it far more suitable for the myriad activities than the restrictive clothing that mid-20th century women were still subject to. Chanel began translating the men’s designs into her own, offering her clients, for possibly the first time, clothing that was chic and refined and practical. And the modern woman took note.

In 1921, Chanel launched her No.5 perfume, and, in 1925, Parfums Chanel Limited was registered in the UK, meaning the British elite could more easily get their hands on what is still, inarguably, the world’s most famous scent. Two years later, she cemented her presence in England, quite literally, by opening the doors to a Chanel salon and atelier in London’s Mayfair, and publishing illustrated articles of fashion advice in The Outlook, a weekly magazine. She emphasised the parts of her business that a British customer would likely respond well to: marketing certain designs around summer season events, producing clothing for both town and country engagements, and using ‘only English mannequins’ in her store.

Chanel wasn’t just about British style — she was about substance too. The designer revered British tailors, especially when it came to sporting garments (Huntsman of Savile Row were a favourite for riding breeches and skirts), and British manufacturers for their handling of heavier fabrics such as tweed and wool. She also appreciated the quality of British textiles and, in the early 1920s, was introduced to William Linton of Carlisle, whom she would go on to commission for lightweight versions of his signature fabrics, a boucle wool that would become a signature of hers. The relationship still stands today.

In 1932, British Chanel Ltd was established in order to best expand her textile production range. More than 40 of the best British textile manufacturers were employed, ranging from lace and tulle from G.W. Price of Nottingham and velvet from Manchester Velvet company, to silk from Hartley and Co of Keighley. A fashion show was held at 30, Grosvenor Square, London, and featured more than 130 ensembles made from British fabrics, modelled by female members of British society.

In 2002, Karl Lagerfeld, who served as creative director of Chanel from 1983 until his death in 2019, introduced the annual Chanel Métiers d'Art collection to better showcase the skills of the ateliers and craftspeople involved with the fashion house. Each collection is inspired by the cultural heritage of the location in which it is held — and in 2007 it was London’s turn, complete with tartan, tweed and tiny Union Jack motifs. A partnership with Scottish manufacturer Barrie followed, as did a mesmerising show in the ruins of Linlithgow Palace, birthplace of Mary, Queen of Scots. I surely cannot have been the whole one who gasped when a flame-haired maiden, clad in ivory and gold robes, appeared on the runway (above).

Of course, drawing attention to craftsmanship is one thing, but preserving and nurturing it is another altogether. This concept is not lost on Chanel. Two years ago, the French fashion house announced a partnership with The King’s Foundation, titled the Métiers d’art Embroidery Fellowship — a 24-week intensive programme designed to develop creative practice and prepare students in the field of embroidery for haute couture and the luxury fashion industry. And just last month, news broke of a £10,000 bursary for one lucky millinery student each year — in collaboration with Royal Ascot.

Dizzyingly (are you keeping up?) Chanel's support for the Arts goes far beyond fashion — see Cliveden Literature Festival, which they have partnered with on four occasions, and recent news that they plan to publish a magazine focusing on art and culture. It’s a move we should’ve all seen coming; after all Chanel herself once said: ‘books are my best friends’. It is a wonder she didn’t beat Dior to the ‘book tote’.

Chanel’s thirst for culture, for travel and for adventure, was all the more evident in 1924, when she collaborated with Sergei Diaghliev and Les Ballets Russes on a wardrobe of costumes for a performance on Le Train Bleu. Later on in her life, she was a patron of the English National Ballet, who just days ago, staged a one-off performance of the one act dance for 100 lucky guests, inside the V&A East Storehouse where the original front stage cloth, created by Pablo Picasso (a close friend and rumoured lover), now hangs.

For a century, Chanel has cast its eye north from France to our shores and celebrated our culture and crafts — sometimes better than we even had. We can only hope it continues for another 100 years to come.

Chanel was not — and is not — the only designer to fall for Britain. Click here to read about why Anglomania is taking over high fashion