Coco Chanel_ An Intimate Life - Lisa Chaney [221]
In the early stages Clement Bosque was my able assistant. He was followed by Adelia Sabatini, whose ability to carry out research of all kinds, act as ambassador and fulfill numerous other tasks with intelligence, independence and good humor—including several discerning readings of the manuscript—have made working with her a great pleasure. I thank her for her tremendous contribution.
To my editor at Fig Tree, Juliet Annan, who commissioned the book, I am deeply grateful, both for her assured and reassuring editorial guidance and her great tact and forbearance. I also thank Jenny Lord for her helpful editorial contribution, and Sophie Missing for picture collecting. I thank my first U.S. editor, Alessandra Lusardi, who maintained her enthusiasm for the project. To Joy de Menil, who took over after Alessandra’s departure and has seen the book through to press, I am most thankful. Her final pruning was done with a deftness and graciousness that left the author grateful and the book undoubtedly improved.
My daughter Jessica brought her lucid and professional visual skills to bear as she expertly shepherded me through the difficult process of selecting pictures. She and her sister, Olivia, were also, as always, unfailingly wise and humorous advisers. My brother, Saul, was his characteristically hospitable self in France, as was Sira in London. While conversations with my father, Keith, were often critical, he also waded through a very long pre-edited manuscript. My other valiant readers were my sister Anna; my daughter Jessica; sister-in-law Vanessa; and friends Josephine Baker and Professor Jane Moody. Cheng Hao Zhou often kept me going. I owe them all a great deal for their thoughtful and astute observations, deletion of various howlers and sensitive recommendations. Jane’s authoritative and judicious suggestions for trimming made the book more transparent. My exemplary copy editor, Sarah Day, skillfully urged me on, spotted errors and suggested improvements, and I am very grateful. Meanwhile, any remaining flaws and errors are my responsibility.
This book took considerably longer than anticipated, and in the process I have neglected friends and family appallingly. Nevertheless, they continued to provide me with their support and good counsel, without which I could not have finished. They have my loving thanks. To Marcus I owe more than I can say.
NOTES
EPIGRAPH
1 Paul Morand, The Allure of Chanel, p. 143.
PROLOGUE: You’re Proud, You’ll Suffer
1 Paul Morand, The Allure of Chanel, p. 40.
2 Ibid., p. 34.
3 Ibid., p. 41.
4 Ibid.
5 Ibid., pp. 20–21.
6 Ibid., p. 56.
7 Ibid., p. 42.
CHAPTER 1: Forebears
1 Jean Cocteau, Past Tense, vol. I, p. 50.
2 Eugen Weber, Peasants into Frenchmen, p. 410.
CHAPTER 2: The Bad One
1 Henry Gidel, Coco Chanel, pp. 21–25.
2 Ibid., p. 30.
CHAPTER 3: The Lost Years
1 Lilou Marquand, Chanel m’a dit, p. 45.
2 Paul Morand, The Allure of Chanel, p. 22.
3 Ibid., both references p. 22.
4 Ibid., p. 23.
5 Ibid.
6 Marquand, p. 61.
7 Morand, Allure, p. 30.
8 Ibid., p. 24.
9 Eugen Weber, Peasants into Frenchmen, p. 325.
10 Ibid., pp. 326, 455.
11 Ibid., p. 313.
12 Ibid.
13 Morand, Allure, p. 19.
14 Ibid., p. 20.
15 Ibid., p. 19.
CHAPTER 4: Things That I Should Be and Which I Am Not
1 Paul Morand, The Allure of Chanel, p. 27.
2 Ibid., p. 28.