The First Boutique: From Hats to Haute Couture

The modest hat shop at 21 rue Cambon that opened in 1910 gave little indication of the empire it would become. Yet from the beginning, there was something different about "Chanel Modes." The window displays, unlike the cluttered presentations typical of the period, featured single hats against stark backgrounds. The interior was equally radical: white walls, mirrors, and black accents created an atmosphere more akin to a modern gallery than a traditional millinery shop.

Coco's approach to hat design was revolutionary in its simplicity. While established milliners like Caroline Reboux created towering confections of feathers, flowers, and even taxidermied birds, Chanel offered clean lines and minimal ornamentation. Her hats complemented the wearer rather than overwhelming them. This aesthetic was partly born of necessity—she lacked the technical training of established milliners—but it aligned perfectly with a growing desire among progressive women for more practical fashion.

The timing was fortuitous. The année 1910 marked a turning point in women's lives. The suffragette movement was gaining momentum, women were entering the workforce in greater numbers, and the rigid social structures of the 19th century were beginning to crack. Fashion, always a mirror of social change, was ripe for revolution. The S-curve corset, which had forced women's bodies into unnatural positions, was falling from favor. Paul Poiret had introduced high-waisted Empire dresses that freed the waist, though they still constrained movement with narrow hobble skirts.

By 1913, Chanel's success in millinery encouraged her to expand. With Boy Capel's continued financial support—and, crucially, his belief in her vision—she opened her first boutique in the seaside resort of Deauville. The choice of location was strategic. Deauville was where wealthy Parisians spent their summers, a place where social rules relaxed slightly and fashion experiments were tolerated, even encouraged.

The Deauville boutique introduced what would become Chanel's signature: sportswear elevated to high fashion. She offered jersey sailor tops, loose-fitting skirts, and casual jackets—garments that allowed women to walk on the beach, play tennis, or simply move comfortably. The fabrics she chose were as radical as the designs. Jersey, previously used only for men's underwear, was considered unsuitable for ladies' clothing. Chanel transformed this humble material into elegant, fluid garments that moved with the body.

The outbreak of World War I in 1914 might have destroyed a less adaptable business. Instead, it accelerated Chanel's rise. As men left for the front and women took on new roles, elaborate Belle Époque fashion became not just impractical but almost obscene. Chanel's simplified designs—which required less fabric and fewer fittings—perfectly matched the moment. Her Deauville boutique, rather than closing, became a refuge for women seeking appropriate clothing for changed circumstances.

In 1915, Chanel opened her third establishment in Biarritz, near the Spanish border. This location proved even more strategic than Deauville. Biarritz attracted wealthy Spanish and South American clients who had money to spend despite the war. Here, Chanel introduced her first couture collection—a full range of clothing, not just sportswear. The designs maintained her principles of simplicity and comfort but executed in luxury fabrics with impeccable construction.