Mademoiselle Chanel No. 1 by Chanel c1945

Mademoiselle Chanel No. 1: created in 1945. Created by an unknown perfumer.

Unhappy with the quality of the perfumes that the Wertheimers were selling in her name through their newly minted Chanel, Inc. company in the USA, in 1945, Gabrielle took matters into her own hands.

Gabrielle Chanel, famously known as Coco Chanel, was indeed a woman of strong will and determination. The creation of Mademoiselle Chanel No. 1 in 1945 is a testament to her desire for excellence and control over her brand. Despite the lack of documentation about the perfumer behind this particular scent, Chanel's intervention underscores her commitment to maintaining the quality and integrity of her creations. It's fascinating to see how she was not afraid to challenge the status quo and take matters into her own hands to ensure that her vision was realized.

After discovering a small perfumer in Switzerland willing to utilize her remaining raw materials, Chanel took matters into her own hands. She initiated a new perfume line, crafting competitive fragrances inspired by her originals. These included iconic names such as "Mademoiselle Chanel No.5," "Mademoiselle Chanel No.1," and “Mademoiselle Chanel 31 rue Cambon.” Additionally, she reimagined Ernest Beaux’s creations, resulting in revamped scents like “Mademoiselle Chanel Bois des Iles” and “Mademoiselle Chanel Cuir de Russie.”

Gabrielle Chanel entrusted her lawyer, Rene de Chambrun, with several small bottles of perfume to gift to his wife. Intrigued by the possibility of crafting these fragrances herself, Chanel inquired if she could do so from her own residence. Chambrun stipulated that while she could create them, she could not sell them; they were to be distributed solely as gifts. Chambrun's wife and a Russian perfumer both found the scents enchanting, deeming them "exquisite." Encouraged by their positive feedback, Chanel directed the Swiss perfumer to produce a hundred bottles of her diverse perfumes.

Amidst the turmoil of wartime, Chanel made a pivotal decision to retail her perfumes exclusively through her boutique, the sole establishment she maintained during the conflict. However, a misunderstanding arose between Chanel and Chambrun regarding the terms of her contract with the Wertheimers. While Chambrun believed she had the right to sell the perfumes, the Wertheimers disagreed, asserting ownership of the trademark names and perfume formulas.

In 1946, this dispute escalated into a lawsuit. The Wertheimers, adamant about protecting their brand, seized all bottles labeled "Mademoiselle Chanel No. 5" from Chanel's boutique. After protracted legal negotiations, a new settlement was reached. Chanel was granted permission to continue selling perfumes under the name "Mademoiselle Chanel." However, she was prohibited from using the number 5 in conjunction with any of her perfumes, marking a significant compromise in her ongoing battle with the Wertheimers over brand identity and trademark rights.

Remaining true to her commitment to Chambrun and Maître Chresteil, the president of the French Bar Association, Chanel adhered to her promise. She adorned each perfume with the prefix "Mademoiselle Chanel" and dispatched them as gifts to esteemed acquaintances. Among the recipients were Hollywood mogul Samuel Goldwyn and the proprietors of New York's leading department stores, Neiman Marcus and Bernard Gimbel. This strategic gesture not only showcased Chanel's resolve to maintain her brand's identity but also served as a subtle yet impactful way to garner support and recognition from influential figures in the realms of entertainment and commerce.

Fragrance Composition:

So what did it smell like? In Chanel's own estimation, the fragrance she crafted in collaboration with the mysterious Swiss perfumer possessed a unique allure. She described it as "the scent of Chanel No. 5, but even better." This assertion suggests that while it shared some olfactory characteristics with her iconic Chanel No. 5, it also boasted enhancements or nuances that distinguished it as a superior iteration. However, without specific details regarding its composition or notes, the exact olfactory profile of this fragrance remains a tantalizing mystery, leaving enthusiasts to speculate on its aromatic qualities and potential enhancements over the beloved Chanel No. 5.

Bottle:

To circumvent trademark constraints on bottle design, Chanel ingeniously opted for cylindrical bottles featuring sloping shoulders. These were paired with disk-shaped, ground glass stoppers, embellished with a distinctive red circular label prominently displaying the iconic "C" for Chanel. Interestingly, these bottles, known as omnibus flacons (sans the Chanel labels), were also adopted by perfumers such as D’Orsay and Weil, alongside others, for their fragrances distributed during the wartime period. This strategic move not only maintained Chanel's signature aesthetic but also allowed her to navigate legal challenges while ensuring her perfumes remained recognizable and accessible.

To distinguish her products from those associated with the Wertheimer-controlled Chanel brand, Gabrielle Chanel opted for a striking red label adorned with white lettering. Reflecting her penchant for minimalistic elegance, the font chosen was simple yet impactful, aligning perfectly with her distinctive style. This deliberate design choice not only served as a visual statement but also underscored Chanel's commitment to setting her creations apart while maintaining her signature aesthetic of refined simplicity.

Fate of the Fragrance:

Indeed, the identity of the Swiss perfumer remains shrouded in mystery, as Gabrielle Chanel chose not to disclose his name publicly. Despite the brief period of production, spanning only until 1947, the impact of Chanel's collaboration with this perfumer resonates in the annals of perfume history. Gabrielle's decision to withhold the perfumer's identity adds an air of enigma to her post-war endeavors, leaving enthusiasts and historians alike intrigued by the untold story behind the creation of her iconic fragrances during her residence in Switzerland for eight years following the war.