What did the woman Chanel hated so much do? She was almost framed.

The fashion world has always been a battlefield without smoke, in the 30s in Paris, there are two women's names have to be mentioned: Chanel and Shaparelli. Nowadays, most people only know Chanel's big name, but do not know in the year, Shaparelli is the circle of the real red people. Chaparelli is Chanel's lifelong rival. The first half of her life on the run Elsa Schiaparelli (Elsa Schiaparelli, 1890-1973) grew up in Italy in an aristocratic family. Lacking parental love since childhood, she once cried to the family cook, "Perhaps, I was not born to them." Her greatest joy at home was to follow her astronomer uncle, watching the stars and reading astrology. Her childhood curiosity and love for the vastness of the night sky were sewn onto Shaparelli's dresses as she grew up. The Big Dipper evening dress designed by Chaparelli/1937 ▼ Indifferent parenting turned the girl into a rebellious young woman. When her parents forced her to marry an old Russian man, the headstrong Chaparelli would have none of it. So she ran away from home and followed the psychic Kroll to the ends of the earth. There are few images left of the ups and downs of Chaparral's youth. Her husband was a psychic in name only, but in reality he was a wanted man by the FBI. Fed up with following him on the run, Chaparelli took their one-year-old daughter and left home again. Chaparelli and her daughter, Gogo, are dependent on each other. Paris: Chaparelli takes her daughter to Paris, where she works in an antique store during the day and frequents the famous "Cow on the Roof" restaurant at night. It was there that she met the man of her life, Paul Poiret, the number one among Parisian fashion designers. Paul Poirier's design manuscripts from 1914 do not look outdated today. "Advertisement for "The Cow on the Roof": the first jazz-themed restaurant in Paris and a stronghold for avant-garde Parisian artists at the time, it was a star-studded venue night after night. ▼ Completely ignorant of sewing techniques, Shaparelli was able to gain a foothold in the Parisian fashion world thanks to her master's encouragement and her wildly creative ideas, and in 1927 she created a Parisian movement by launching a false-collar jumper with a "3D effect", which was featured in Vogue as well as by the fashionable newcomer. A 1927 Vogue illustration of Chaparelli: Chaparelli's unique optical illusion knitwear was the most fashionable item of the year. Shaparelli wore a Grecian-style optical illusion evening dress that she designed herself, with the pleats of the dress in a painted pattern. Hollywood actress Marlene Dietrich wore Chaparelli, who was also one of her loyal customers. This eccentric woman from Italy turned the Parisian definition of fashion upside down. Each of her new collections was filled with elements of curiosity. Before Chaparelli, fashion was just fabric sub; but after her, fashion was played as art. Chaparelli's "eye" hat, eyebrows are Van Cleef & Arpels diamond accessories. 1935 Chaparelli's sky-high design manuscripts: *** of small Lolita parasols, glass ruffled fans, newspaper-printed cotton bonnets and Easter egg make-up Stunning Powder If you've seen Woody Allen's Café Society, you know that the bustling nightlife of the upper class yuppies was the most iconic scene of the 1930s. Café Society " "No matter where you were, the whole island of Manhattan was alive with social nightlife. That period has always fascinated me; it was one of the most exciting eras in the history of New York City." -- Woody Allen How can a feast be complete without a fancy dress? In keeping with the trend, Parisian fashion has popularized the dinner dress. And Shaparelli's "Shocking Pink" became one of the favorite colors of celebrities when choosing a dress. The cover of Vogue in 1934 featured Chaparelli's Shocking Pink evening gown. Shaparelli was the first designer to wear a jacket with an evening dress. The color was originally inspired by a pink diamond owned by American celebrity Daisy Farrow. In the 1952 version of Moulin Rouge, Sasha Gabor wore a pink evening dress in classic Chapparelli pink. Chanel didn't even like to name her rival, referring to her as "the Italian woman who makes the dresses." She even pushed Chaparelli so hard at a ball that the latter nearly died in a firecracker. The styles of Chanel (left) and Chaparelli (right) were very different, one elegant, the other flamboyant. However, as much as Chanel hated her, the art world loved her. Dalí designed fashion patterns for her, Andy Warhol designed glove advertisements for her, Picasso put her new collection into paintings... Shaparelli turned art into fashion, interpreted art with fashion, and became the first female designer to master the "art of wearability". Dalí and Chaparelli in France / 1950 Dalí painting on Chaparelli's perfume bottle / 1943 "Sun King" perfume bottle designed by Dalí. "The "Sun King" perfume is inspired by King Louis XIV of France. Dalí and Chaparelli's "Lobster" dress: when the design was finished, Dalí wanted to put mayonnaise on the lobster, which even Chaparelli couldn't accept. The Duchess of Windsor wore the "Lobster Dress", one of the most famous collaborations between Dalí and Chaparelli. One of the most famous collaborations between Dalí and Chaparelli. Dalí and Chaparelli collaborated on the design of shoes and hats, and the pockets on the evening gown were in the shape of lips. The "Tears" brooch designed by the artist Jean Cocteau for Chaparelli / 1937: the pearls symbolize tears. Chaparelli's design featured in a painting by Picasso / 1937: both the hat and the brooch are from Chaparelli's year. Nowadays we always see high-fashion brands collaborating with artists, and Chaparelli played with this concept in the 1930s. She transcended the traditional definition of a fashion designer, artists saw her as a peer, and Chaparelli was in the headlines almost every day. In her heyday, she owned eight studios and managed more than 400 employees under her supervision. TIME Magazine/1951: Chaparelli was the first female designer to be featured on the cover of Time magazine. ""Madder and more creative than most of her contemporaries, Ms. Chaparelli is one of the few designers who are often described as 'geniuses'."" -- TIME The Italian Living in Paris The combination of years of traveling for work and two runaways in her youth left Shaparelli longing for a home for herself and her daughter. After stabilizing in Paris, she bought an apartment that she filled with unique antique furniture. Chaparelli not only plays with art in her design, but is also a fan of art collection in her private life. At home, she loves to dress up in Chinese cheongsams, and often leans back on the oddly shaped Napoleon III-style double sofa to create her designs. Chaparelli reclining on the Napoleon III violet double sofa in her Paris apartment/Christie's The double sofa was originally violet in color, and the wall was covered with a huge Orbison tapestry. Louis XVI Orbison Tapestry in Chaparelli's home / Christie's Chaparelli's home has a collection of distinctive 19th-century trestle tables / Christie's Chaparelli's home includes a piece by Julien Nicolas Rivart, the famous Napoleon III-era china inlayer. In addition to her antique furniture, Chaparelli often receives paintings and sculptures from artists, which she places in her home or in her studio. She kept them in her home and studio. The Swiss sculptor Giacometti created for her the classic birdcage and the two white column lamps by the window. Giacometti's White Pillar Lights for Chaparelli / 1935 Of all her paintings, she loved Picasso's Caged Bird. She once said in her autobiography, "In the birdcage, the white swan lowers its head in frustration and looks at the *** apple; the other black bird waves its wings angrily, trying to challenge the sky." Chaparelli's private collection, her favorite painting is this Picasso's "Caged Bird" The reason why Chaparelli loves this Picasso the most is because she sees her own shadow in the two birds: the white swan that looks at the apple in sadness may symbolize Chaparelli's youth - enjoying an aristocratic life, but losing her freedom; And inside her heart, there is also an angry black bird trapped, wanting to break free from all shackles. Picasso's "Caged Bird" is in the home of Chaparelli, and there will never be another Chaparelli in Paris. Chaparelli's "wearable art" is like a hurricane that has brought the world of high fashion down to earth. Many of the traditions of today's fashion world are due to Chaparelli: she presented her new collection in her own fashion house; she was the first designer to theme her collections, telling a story with her fashion... Inside Chaparelli's store at Place Vend?me Vogue/1951: Classic Chaparelli, flamboyant, eccentric, yet elegant. Glimpses of Chapparelli's glamor and talent are available between the light and shadow of the 1930s. Sadly, shortly after returning to Paris from the United States after World War II, she decided to retire and concentrate on her writing. The fashion world lost Chaparelli's figure, and Chanel was able to make a comeback without its rival. Retired Chaparelli hand no longer holding a bag, but the autobiography. After the war, Paris was once again filled with light and sound, but Chaparelli's name was gradually forgotten. Her retirement seemed to confirm her own words, "When people stop copying you, it means you've fallen out of fashion." I wonder if Chanel, who has since returned to the top of her game, occasionally misses her rivalry with Chapparelli? Want to read more art gossip? Come to follow the public number LicorneUnique!