Coco Chanel_ An Intimate Life - Lisa Chaney [25]
Unlike Britain, France didn’t punish homosexuality, which was a major feature of Belle Epoque society. Indeed, by 1900, French tolerance had not only made Paris an international refuge for homosexuals, it was also dubbed ‘Paris-Lesbos’ for its reputation as the lesbian world capital. There were a number of married society women who enjoyed lesbian affairs, leading one society hostess to say, “All the noteworthy women are doing it.”7 While it wasn’t against the law, there were very strict social conventions against the sexual experimentation in which both men and women indulged freely. If upper-class women were protected by their social status and greater freedom, sexual deviance had to be acted out with the utmost discretion away from the public sphere. Financially dependent women were obliged to preserve themselves from public scandal. Above all, they had to give the appearance of normality.
In his novel Nana, Emile Zola’s description of the widespread Parisian subculture of lesbian courtesans reflected a contemporary fascination with these transgressive relationships. Watching a lesbian couple perform was a popular “turn” at brothels and burlesque shows, and in À la recherche du temps perdu, Proust’s Marcel finds his courtesan mistress, Albertine, more desirable when he discovers that she is bisexual. For many men, lesbianism was “seen as a charming caprice, a sensual vice from which he too may profit.”8 Colette’s notorious experimentation with sexual identities introduced her to that Parisian lesbian subculture that included Emilienne d’Alençon. Indeed, Colette would remember a Mardi Gras ball in Nice in 1906 where Renée Vivien and the courtesans Emilienne d’Alençon, Liane de Pougy and Caroline Otero were with “a crowd of courtesans, actresses, corps de ballet members . . . down from Paris, most of them part-time members of le Tout Lesbos.”9 No prosecution was brought against Liane de Pougy, for example, when her sensational novel Idylle saphique trumpeted her affair with that suave seducer of women, the beautiful and highly intelligent American heiress Natalie Barney. One of Barney’s many lovers was the same Renée Vivien from that lesbian Mardi Gras ball in Nice, who died at the age of thirty-two from anorexia, drink and drugs. Renée Vivien and Barney were two of Emilienne d’Alençon’s most famous female lovers.
Though lesbianism wasn’t illegal, the rigid social conventions against its public display included a very intolerant attitude toward cross-dressing—indeed, female transvestism was held in great public contempt. A woman on a Parisian boulevard in trousers ran the risk of immediate arrest. Two of those who notoriously flouted this rule were George Sand and, later, Sarah Bernhardt. (As a writer and an actress, they were considered outsiders and thus managed to avoid public censure.)10
But in private, women in men’s clothes had for long been a common theme in erotic art and was seen as highly suggestive when practiced by the demimondaine. When playing at being a man, rather than threatening the superiority of her client, she provoked an erotic frisson. When Emilienne d’Alençon took to cross-dressing in the early years of the century, however, she may well have been trading on a double message. Her regulation ties and stiff collars, set off by pert female hats, were possibly as much a covert sign of sisterhood to fellow lesbians as they were an appeal to voyeuristic male fantasies.
Etienne Balsan