EQUESTRIANISM
The only example in the world of the racing silks in the colours of Gabrielle Chanel, given to François Mathet by Mademoiselle Chanel herself, has now been handed over by his sons Hubert and Melchior- François for Ader’s upcoming auction on 2nd December.
In silk satin and crafted by Hermès, it carries the inscriptions done by the travelling head lad who accompanied the horses during race meetings, “Mathet” and “G. Chanel” on the lining of the cap and the silks, obligatory indications to avoid confusion between the colours of dozens of owners within Mathet’s ‘stables’ in Chantilly. The troika of Gabrielle Chanel, François Mathet and Yves Saint- Martin, associated with Hermès, remains unique, although short-lived, in the history of thoroughbred horse racing in France. With the purchase of Romantica, Gabrielle Chanel had revived ties with her past: Etienne Balsan, who discovered her in Moulins at the beginning of the century and nicknamed her Coco, took her on aracecourse for the first time in Vichy in 1906 and first put her on horsebackin the Forest of Compiègne where she used to go hunting. She was an accomplished rider and Racing silks in the colours of Gabrielle Chanel would later hunt with her great love, Boy Capel, and then, as his mistress, with the Duke of Westminster up until the late 1920’s.
Mademoiselle’s friend and solicitor, René de Chambrun, had introduced her to his classmate François Mathet – the best trainer in France for some years – who would advise her to buy Romantica and would bring the chestnut mare, ridden by the famous jockey Yves Saint-Martin, to victory during the ‘Prix Rouge Rose’ on the Tremblay racecourse in the month of April 1964, and during the ‘Prix Finlande’ – preparatory race for the ‘Prix Diane’ – in May 1964. Romantica was to lose the Prix de Diane and then retired from racing and became a broodmare at the Bourgfontaine stud farm, owned by the trainer.
The colours of Gabrielle Chanel wererecorded by the Bulletin Officiel de la Société d’Encouragement (currently ‘France Galop’) N°23/63. They still featured on the list of “Couleurs de Propriétaires” (“Owners’ Colours”) discontinued on 1st January 1970. A handwritten note in red indicates that Mademoiselle Gabrielle Chanel is deceased on 10 January 1971.
The day before the ‘Prix du Diane’ in Chantilly in June 1964, in which her mare was to run, Mademoiselle. Chanel gave an interview to the equestrian weekly magazine Week-end. The interview was heavy going ! Before bringing up the topic of racehorses, a passion of Mademoiselle’s that many didn’t know of, the journalist is faced with an obviously annoyed Gabrielle Chanel.
And what about the horses?
“The horses have nothing to do with the house of Chanel. I simply can’t manage it. You hear me, I can’t let myself. I employ 320 women. Some men as well, but that’s less important. I’ve got to mind my health and be energetic and come up with ideas. It’s my duty to these 320 women. No relation between the horses and the house of Chanel. Besides I don’t need the publicity. No budget for publicity. I’m the only one. I’m known because I open my fashion house to everyone.
Certain couturiers charge 100,000 francs (Editor’s note, old francs) for a seat at the presentations. Can you imagine? You all you need is a nightshirt. Before showing you one, you are told “you’ve got to pay 100,000 francs”. I don’t play along to that. So, I don’t do it to others.” Everyone comes to me and copies: well done! The Americans, everyone who wants to. I’m even known in Russia. I invite all of Humanity to collections. Why not?”
What about the horses ?
Nothing to do with it, I’m keep telling you. On a dress or a suit, a head seamstress, a trainee and an apprentice each work for three weeks. And good workers. I don’t make money. When it comes to it, it entertains me but that’s all. Perfumes, yes, that’s a different story.”
But the horses?
“Mademoiselle Chanel’s horses, yes, not Coco Chanel’s. It’s because I’d had enough of dogs: they’re very sweet but you need to be taking care of them all the time. A dog’s chambermaid, that’s what I had become. It took up too much of my time. I simply can’t let myself (sic).
But the horses?
“Mademoiselle Chanel’s horses, yes, not Coco Chanel’s. It’s because I’d had enough of dogs: they’re very sweet but you need to be taking care of them all the time. A dog’s chambermaid, that’s what I had become. It took up too much of my time. I simply can’t let myself (sic). I was having lunch with (René) de Chambrun, my sollicitor. I said, “my dog died but I don’t want another one anymore”. He said to me “what about horses?” I asked “that won’t take up too much of my time?” – “No – “In that case, horses sound good”. I know them well. I was raised in the countryside in Auvergne. We had horses. Workhouses, of course. At the time, there were no motorcars. But yes, I was young before automobile’s came about. Why hide it? That would be stupid. That’s also the reason why I don’t have time to lose, you see? At theage of five, I was dragged around by a horseholding onto its tail. Later, I did lots of riding, hunting etc. (Editor’s note, Etienne Balsantook her to the races for the first time in Vichy in 1906 and and first put her on horseback inthe Forest of Compiègne where she used to go hunting. She was an accomplished rider and would later hunt with her great love, Boy Capel, and then, as his mistress, with the Duke of Westminster up until the late 1920’s. ).
“So I said: horses sound good as long as the don’t waste my time. Chambrun suggested I speak about it with Mathet. They had been in school together at Stanislas in Paris. I saw Mathet. I told him: I only want two horses, but the best of the best. He suggested I go and see some with him. Not the right time. One day, he phoned me: they’re here. Come one evening at 6. I understood that he lovedhorses. An aficionado goes to see a horse inthe evening, when the animal has eaten and is relaxed. Not in the morning, never the morning.”
Your colours ?
I would have liked white, at most white with a black cap. It was taken. I said red. That was taken as well. That annoyed me. I decided: red anyway. We’ll add a bit of white somewhere. I made a call to Hermès. They were astonished that I wasn’t doing my silks myself. But I dress women, not horses. Three of them came together. I chose the red myself. For the white, I told them to cheat, to put it near the elbows. When the jockey has his arms bent, you can no longer see it (Editor’s note, this is referring to the white armbands sewn onto Gabrielle Chanel’s silks. They are normally much wider in order for them to be seen at a distance).
“And Romantica won. I had a lot of fun. I was shouting.”
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