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CHANEL - Travel Palette

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One gift set. Endless possibilities. This travel makeup palette and mascara set features beauty essentials to enhance face, eyes and lips on the go.

  • This gift set includes:
  • Makeup Palette
  • INIMITABLE Mascara - Noir
  • The makeup palette includes:
  • Eyeshadow - Mauve Shimmer, Sheer Pink Satin, Pearl Satin, Bronze Shimmer, Espresso Satin
  • Lipgloss - Coral, Pink, Fuchsia
  • Lip Color - Mauve, Berry
  • Blush - Rose Shimmer
  • LES BEIGES Healthy Glow Sheer Colour - Nº20

Web ID: 5215953

  • Our Normal Gift Boxing is not available for this item.
  • For complete details, read our Shipping and Return policies.

Customer reviews

I LOVE LOVE THIS TRAVEL SET IT COMES IN SO MANY COLORS AND EVERYTHING IS INCLUDED... YOU JUST CAN'T GON WRONG WITH THIS PURCHASE AND THE PRICE FOR CHANEL IS DELIGHTFUL WHEN YOU THINK OF ALL IT INCLUDES.

I am so glad I purchased this product. It's a perfect on the go make up and the shades are just beautiful combinations.

bloomingdales.com

I got this for my mom who loves Chanel make up and perfume. The gift is very nice with great colors, convenient make up case for traveling, carrying in your bag for everyday or just at home. I know she will be so happy and on top of this they had 15% off sale.

Just arrived in time. Perfect for traveling or just to have in your purse. Very elegant

I received this as a gift last Christmas and absolutely adore it! I take it with me on trips because it has everything in one case! The colors are great for daytime or evening, the powder coverage is amazing and the blush color gives you a fresh, youthful look. The brushes are actually pretty good, and if you bring the mascara, you really have everything you need! I actually loved the bottom color lipgloss and the blush so much that I bought them separately for my everyday use. The quality is second to none.

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The Trick Behind Chanel Beauty’s New Makeup Collection

Portrait of Kathleen Hou

We all know the line about groundbreaking florals for spring. But flowers really are an endless source of inspiration, drawing us in again and again because they’re simply too beautiful. Just look a the house of Chanel and its Spring-Summer 2021 Collection .

Created by Lucia Pica, global creative makeup and color director for Chanel, the collection eschews any overly precious petal pinks or long-stemmed red rose shades in favor of more interesting and unusual colors. Les Fleurs de Chanel contains rich anthrium reds and peachy peonies, drawing inspiration from the earthiness of flowers like irises, carnations, and sweet peas.

The collection plays with the juxtaposition between delicate and bold colors, suggesting poppy orange colors for the nails paired with a wash of currant on the lids and raspberry lips. The Cut talked to Chanel Makeup Artist Pati Dubroff to learn about her nude base makeup trick for the color shy, how COVID has changed the way she works, and why she loves one copper-colored mascara.

How has COVID affected the way that you do your work?  Well, I used to be very much a finger painter. I still do that on myself. Now when I’m working with clients, I am conscious not to use my fingers to blend the lipsticks. I don’t use the back of my hand as a palette; I switched over to using stainless and acrylic palettes. I’m also slower. I carry less in my makeup kit; I condense it to the person. I feel like it’s made me more streamlined. When everything first happened, it was a feeling of, How are we ever going to be face to face? We won’t be able to do our jobs anymore. But now I am more thoughtful and slowing down a little bit so I’m not falling into old ways of doing things.

I wear a mask. I never take it off. We all test before we work. If possible, I look for ventilation near an open door. I use brushes even to apply moisturizer. I used to give a face massage, but now I do it with my tools, not my hands. I also used to go in and touch up things all the time, as a perfectionist thing. Now I let things go and trust it, so I don’t get as much into other people’s space. Besides that, I am just grateful for every job that comes, after so many months of not being able to work.

How has the pandemic affected the way you see beauty? I used to wear makeup in my 20s and then stopped. I would never wear it to work. But I started wearing makeup again. I’m enjoying it now. I’m really grateful for it and the boost it gives me.

I enjoy my husband doing a double take, like, Whoa, who are you now? I have been experimenting, and feeling creative, and wanting to try something out. If you’re spending a lot of time on Zoom, you notice when someone doesn’t have it. They look washed out. Makeup lifts our spirits. Everyone needs a little bit of that.

chanel travel makeup palette 2021

When you saw the new spring/summer collection, what was your reaction? This collection is inspired by flowers, and flowers are not just one color. From afar, they look like one color. But up close, there are gradations of tones. All these colors are not intimidating, but approachable. So many people struggle with wanting to wear a red lip and are intimidated by the boldness of a color. These colors are visible, but they have a muted-ness to them that makes them more wearable.

What sets this collection apart from other floral makeup collections is that all these colors have a brown or nude base. This is a technique makeup artists still do. They find an earthier tone, a brown, and use that as a base, and then layer a more vivid shade on top. Here, it’s already built in. The browns give it that neutrality, while still letting the color come through.

Tell me more about how you would use the nude base trick on the lips. For lips, what I like to do is find a color that is more like your natural lip color, or what I would call a nude tone. Use that as a base and go all over the entire lip, which will frame it. Then put the brighter color in the center and blend. It’s a great way to wear a bright lip without getting Joker-y. You’ve probably seen that before, when a red lip is across the entire lip but it doesn’t seem like it belongs there. This molds it so the color blooms from the center, very much like a flower.

chanel travel makeup palette 2021

What is your favorite, most unique product in the collection? The mascara. It’s a beautiful, copper-y tone. It’s a beautiful accent — a nice way to give attention to the color of the eye. When eyes are greens or blue or softer browns, copper-y browns are magic. It makes the eye color pop, because it’s a burnished brown color that has the slightest hint of metallic. It gives it some warmth, and evades flatness.

Even if I wanted to do more of a lash focus, using that coppery tone on the bottom lashes is a pretty accent. I understand it’s a limited edition. Unlike other colored mascaras, it doesn’t make the lashes look powdery or like you’re coloring in your lashes. Despite not being black, it gives enough dimension.

chanel travel makeup palette 2021

The newest product is the Rouge Allure Laque. How do you use that? The one I am loving a lot is the shade Dark Blossom. I love it because the it’s the perfect texture to do a base coat, and to do a wash of color. I’ve been using it as a stain, and then popping on the lipstick as a centerpiece color. It’s a pretty way to make the bolder color of the Rouge Allure Velvet lipsticks more wearable. Dark Blossom is a really pretty color and gives an extra bump up of the romantic feeling.

Tell me about what your eyeshadow technique would be with these palettes. How would you use a palette like Warm Memories?  Experiment and play — don’t we have the time to do that now? Generally speaking, my technique 90 percent of the time is to start with a matte shade and then build to a shiny shade. I look at what I want to open up and bring out, what I want to add depth and contour to. These shades all have the slightest amount of metallic. They’re not high metals or shimmer. I would use the one which is more matte in the lower left as a base tone. Then I would use the Stylo Contour to frame where I want to give the eye more definition, like in the orbital bone crease.

If you’re totally lost, gravitate toward the shade that you think is the prettiest. Start with the shade with the most amount of matte, and begin adding the shimmer. Shimmer works best on the flat area of the eyes, so farther away from the crease and more on the lid. I’m also not a fan of bringing shadow up to the brow bone. The deeper the shade, the closer you want it to be to the lashline, unless you’re going for a super smoky look.

chanel travel makeup palette 2021

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chanel travel makeup palette 2021

  • PRODUCT MATCHES

chanel travel makeup palette 2021

  • Face Palette

Travel Makeup Palette

chanel travel makeup palette 2021

Harmonie de Camélia

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Member's review #fakefree and authentic fake or paid reviews and violating accounts can be deleted / banned. read our full beauty review terms & conditions here..

chanel travel makeup palette 2021

RiskaRussell

Combination, Medium Light, Neutral

20 Dec 2022

RiskaRussell recommends this product!

All in one! Eye shadow Warna nya cakep2 tapi terlalu soft di aku jadi ga terlalu keluar but still pretty thou! Buat yg suka warna2 simple soft pasti suka and I like it. Bedak nya agak susah kalo make brush better sponge kecil buat bedak gitu. Blush on nya soft banget hampir ga keliatan jadi kalo make rada banyakan. Lipen nya cakep2, again warna2 soft semua ya but pretty! Buat aku kepake sih, ringkes buat dibawa2. Ada pouch nya cakep elegan tapi gampang kotor yaa. Packing nya tentu saja khas chanel. Simple but classy.

Chanel Travel Makeup Palette 221220 907 1

Usage Period : More than 1 year

Purchase Point : Official Brand Store

chanel travel makeup palette 2021

Normal, Medium Light, Neutral

17 Jul 2021

kiichan recommends this product!

buat kamu yang sering bepergian , atau sering meet like from one place to another , dan tentunya harus jaga penampilan, specially riasan make up, selain simple dibawa , tekstur dari eye shadow nya soft and creamy , punya variasi warna yang cantik2 ,mau looks GLAM and classy bisa, ada sedikit blink but just like .. selewat aja , tergantung berapa lapis kamu apply nya. gampang menyatu kek beneran plok aja gitu .. easy to blend , ga meleber kemana2 , mau look casual bisa , mature bisa , untuk lipstick nya teksturnya light creamy , hasilnya matte tapi masih keliatan sedikit creamy gitu , enak pokoknya , blush-on nya sendiri soft powdery just a so..so... Dan untuk Compact powder nya ya seperti yang terlihat kecil harus kek bener2 sabar banget apply nya kalau mau bnr2 coverage , tapi for me just like tap tap tap tap udah cukup ngeblurr pori2 gitu and looks natural like my 2nd skin 🤭 untuk brush aplikator nya there's nothing wrong everything in a good shape and fits well , dan untuk mascara nya aku juga suka banget, dia halus banget 🥲 pigmented well , ga yang kaya mencolok banget, not really voluming but enough to make your lashes looks thicker and longer , nyaris kaya ga pake mascara gitu bener2 dpt hasil yg natural looks , udah gitu brush nya mungil, travel size mascara mungil yg bnr2 cocok banget buat yg ga mau ribet make up dijalan . ada mini pouch nya juga makin memudahkan dibawa2.dan ofc looks classy 🤭

chanel travel makeup palette 2021

Normal, Light, Neutral

10 Nov 2019

cimy27 recommends this product!

Beli ini rencananya buat traveling..Jdga usah bawa individual makeup product.. Tapi nyata ga gt kepake.. Ga tau knp seringnya lupa bawa ini kalo lg traveling.. Yg paling aku suka mascaranya bikin bulu mata jd lebih panjang n ga ngegumpal” wkt di pake.. Powdernya juga bagus tp terlalu kecil jd kalo mau pake harus sabar dikit”.. Brush powdernya bisa juga buat highlighter.. Saran aku sih kalo suka warnanya ya beli tp kalo engga mending beli satuan aja dh lebih bny isinya n lebih awet..

chanel travel makeup palette 2021

Oily, Medium Light, Neutral

31 Mar 2019

Ini warna nya cantik" bgt!!. Lipstiknya juga creamy bgt.lipstiknya ada yg creamy dan ada yg matte,tapi matte nya juga gk yg gimana".masih ada creamy nya jga.dan ini sdh komplit sama eye shadow dan blush on,, tinggal di amplikasiin aja di wajah.dan hasilnya wow hehehe

chanel travel makeup palette 2021

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chanel travel makeup palette 2021

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CHANEL TRAVEL MAKEUP PALETTE

Makeup essentials with travel mascara.

One palette. Endless options. Create a complete look with this travel beauty essential, featuring face, lip and eye makeup to suit any style and occasion. Set includes: Eyeshadow in Mauve Shimmer, Sheer Pink Satin, Pearl Satin, Bronze Shimmer and Espresso; Satin Lipgloss in Coral, Pink and Fuchsia; Lip Colour in Mauve and Berry, Blush in Rose Shimmer; LES BEIGES Healthy Glow Sheer Colour SPF 15 in Nº20; INIMITABLE Mascara Multi-Dimensionnel in Noir.

Web ID: 1668084

  • Our Normal Gift Boxing is not available for this item.
  • Eye Palettes

Travel Makeup Palette

Product image uploaded by dempsj

7 years ago

This review is for the Chanel 2016 Travel Palette which now is available for purchase at any local chanel counter or order from macys.com, not exclusive to the airport duty anymore. It is $100USD...

About reviewer ( 2417 reviews )

Skin Other, Other, Not Sure

Hair Other, Other, Other

12 years ago

Overall, a fantastic palette. I really love the eyeshadows and lipcolors. As I'm olive skinned, the blush is really subtle when applied.

About reviewer ( 60 reviews )

Skin Combination, Olive, Warm

Hair Black, Wavy, Fine

This review is for the Paris-L.A. Palette. This is probably best for lighter skInned gals. I am ghastly pale, and it's perfect for me. I passed on the identically configured duty free exclusive...

About reviewer ( 31 reviews )

Skin Sensitive, Fair, Not Sure

Hair Red, Other, Other

Only at Duty Free, I got this at Saigon Airport for around AUD$60. The eyeshadows are of very good quality but the white and peach colours are too glittery. I expected the scary white eyeshadow to...

About reviewer ( 92 reviews )

Age Under 18

Skin Dry, Tan, Warm

Hair Black, Relaxed, Medium

13 years ago

This is a travel exclusive palette only available in certain airports. Nevertheless I paid almost USD 70 for this.... It comes in the signature Chanel packaging-black and very minimalistic with the...

About reviewer ( 332 reviews )

Skin Combination, Fair-Medium, Not Sure

Hair Brown, Other, Other

Purchased this on a long flight back from Egypt. The colours were beautiful and neutral. There wasn't a tester available, but figured "What the heck ... coming from Chanel they can't all be bad."...

About reviewer ( 42 reviews )

Skin Very Oily, Fair

Hair Brunette

14 years ago

I bought this on a loooong flight, and found it to be a great travel palette to play with on the way to Australia. Everything in it--four shadows, a blush, two lipsticks, and two glosses--is soft...

About reviewer ( 1198 reviews )

16 years ago

This is for the newest Travel Collection, i bought mine on CX just this winter 07. It comes in the classic velvet pouch with 3 mini applicators- a blush brush, lip brush, e/s sponge...

About reviewer ( 135 reviews )

Skin Combination, Fair, Neutral

Hair Brown, Curly, Coarse

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A Fresh Interpretation

Discover the invigorating CHANCE EAU FRAÎCHE Eau de Parfum.

Enduring Effervescence

Introducing CHANCE EAU FRAÎCHE Eau de Parfum, a woody floral-sparkling fragrance with a citron accord, a jasmine heart and a teak wood note.

Customizable Colour

ROUGE COCO BAUME delivers pigment that intensifies with every swipe, offering a buildable lip look. Shiny upon application, the finish becomes more matte as it wears.

Radiant Results

An essential part of the N°1 DE CHANEL ritual, the REVITALIZING SERUM boosts skin’s vitality and helps reduce the impact of oxidative stress to preserve a youthful appearance.

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CHANEL CHANCE EAU FRAÎCHE Eau de Parfum Spray

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CHANEL N°5 Eau de Parfum Spray

Chanel coco mademoiselle eau de parfum spray, chanel bleu de chanel parfum spray, chanel chance eau tendre eau de parfum spray, chanel chance eau de parfum spray, chanel chance eau vive eau de toilette spray, chanel bleu de chanel eau de parfum spray, chanel allure homme sport eau de toilette spray, chanel coco mademoiselle eau de parfum twist and spray set, chanel chance eau tendre eau de toilette twist and spray set, chanel coco mademoiselle eau de parfum intense spray.

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CHANEL LES BEIGES Healthy Glow Natural Eyeshadow Palette

chanel cruise 202122 beauty look

The Chanel Cruise 2021 Beauty Look Was An Education In Modern Feminine Punk

Inky liner and blushing cheeks abound.

Pick any beauty look synonymous with a decade throughout history, and you're likely find its influences running throughout the wider culture. The look of this decade? If Chanel's Cruise Collection 2021 is the bar against which we measure the mood of this era, the new roaring Twenties are set to be characterised not by the glamour of its predecessor, but by a channelling of rebellion.

For Chanel creative director, Virginie Viard , the ghosts of bygone punks seemed to stir once again within the vast walls of the Carrières de Lumières in Provence.

chanel cruise collection

While the fashion was punctuated by quintessential Chanel pieces, the beauty stood firm and unapologetic in its Parisian homage to feminine punk; make-up was more polished than the Blitz Kids of the 1980s but with a severity that the washed out complexions of the 1990s lacked.

Make-up artist Lucia Pica alluded to an atmosphere of revolution by playing up the role of eyeliner to its fullest potential. Minimalism was not the order of the day; Gwyneth Paltrow's liner in The Royal Tenenbaums looked subtle in comparison to Chanel's inky lines. Pica balanced precision with freedom, rimming the eyes with black before extending outwards into disjointed double-edged wings, while other models were adorned with etched fluid shapes around the lash line.

chanel cruise collection

While the clothes didn't stray far from the black and white palette that Viard drew from Jean Cocteau's 1960 film The Testament of Orpheus , colour was allowed more freedom to play out across the faces. The odd wash of pink shadow softened the liner and subtly ushered in a feminine attitude without the frills.

Lips were kept balmy , sometimes accented with a hint of berry but mainly understated, bar a show-stealing Chanel monogram lip ring which adorned the occasional lucky model.

Blusher came in different strokes too; a restrained and neutral flush here, a blown-out New Romantic-esque fuschia rush there. The usual air of sangfroid that accompanies the Chanel model was replaced with something more impassioned. Viard understood that the modern woman wants to be seen in a way that resonated with the women entwined in the 1980s punk subculture. Their make-up, of course, a crucial tool of individualism.

chanel cruise collection

The hair invited just as much experimentation at the hands of hairstylist Damien Boissinot . Curled and tousled waves were teased into an undone look, natural hair was celebrated rather than restrained. With others, he was not so delicate, tapering the ends of fringes with razor-like finishes.

Side partings replaced the groomed centre parts we saw at Chanel's SS21 show, with fringes hanging heavy with the purposefulness of an angsty teenager. The over-arching message, through whichever flick of eyeliner or swipe of blush it presented itself, was a celebration of liberation, intemperance, with a whisper of anarchy thrown in for good measure.

Because really, what is beauty without a little bit of rebellion?

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chanel travel makeup palette 2021

Women over 40 beauty, Skincare, Fashion, Fitness and Lifestyle

Chanel travel palette.

chanel travel makeup palette 2021

These days Chanel has been hitting it out of the ballpark with their beauty. (Love their Fall Collection, too!) As I get older I’m all about simplicity and ease and that includes my beauty time. I just don’t have the time for certain things like I used to and I’m all about simplifying anything in any way I can without compromising quality. Nordstrom Anniversary Sale still has a few days left to get some great bargains and their beauty exclusives are always fantastic.  I picked up this Chanel Travel Palette and love everything about it! There’s only 3 days left to get yours!

This lovely palette comes in a velvet case pouch and tucked inside is an Inimitable mascara in a travel size as well.  There are 5 eye shadows, a face powder, a blush, 3 Glossimers and 2 lip colors.

Eye Shadows  Mauve Shimmer Sheer Pink Pearl Satin Bronze Shimmer Espresso Satin

Face Rose Shimmer blush Les Beiges Healthy Glow  #20

Lips Glossimers in Coral, Pink and Fuchsia Lipsticks in Mauve and Berry

The colors for the eyes and lips are all quite wearable for many skin tones and the palette even includes eye brushes, lip sponges and a face brush to make this a total all-in-one face look. Once it’s sold out they’re gone! And they are for sure gone before August 3rd!

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Vittoria ceretti takes the spotlight for chanel makeup fall 2021.

Joanna Elizabeth

Published August 22, 2021

Updated December 24, 2022

Vittoria Ceretti stars in Chanel Makeup fall 2021 campaign.

Chanel Makeup brings new hues to its fall 2021 collection. The campaign stars model Vittoria Ceretti who wears a shimmering tweed design to accompany the new season’s autumnal tones. The brand focuses on four key color palettes for fall—Khaki Harmony, Silver-Grey Harmony, Red-Brown Harmony, and Champagne Harmony.

Matte and shine effects in the same tones make for contrasting looks. The fall line features liquid eyeshadow, long-wear nail color, powder blush, and matte lip color. In addition to images, Vittoria can also be seen in a short film wearing the stunning beauty look in motion. Don’t miss out on the incredible holiday selection from Chanel Makeup – for festive finds.

Related: Vittoria Ceretti Shines in Pearls for Chanel Makeup

“Contour and light. CHANEL is reinventing the rules of makeup with an ultra-sensorial two-step technique for contrasting eye looks. Four deep and rich color harmonies, emphasized by effects that are matte or shiny, warm or electrifying. An interplay of layering and discord that gives an enigmatic result,” the brand shares.

Chanel Makeup Fall 2021 Campaign

Chanel Makeup unveils fall 2021 campaign featuring model Vittoria Ceretti.

View this post on Instagram A post shared by @chanelofficial
  • Season : Fall/Winter 2021
  • Fashion Label : Chanel
  • Model : Vittoria Ceretti

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Chanel's Striking New Winter Eyeshadow Palette Is the Only Makeup You Need to Buy This Month

Look snow-kissed, without the snow.

Author image: A photo of Destinee Scott.

PureWow editors select every item that appears on this page, and the company may earn compensation through affiliate links within the story. All prices are accurate upon date of publish. You can learn more about the affiliate process here .

A close up of a woman's eyeshadow look using the Chanel Les Beiges palette.

In the market for a  winter eyeshadow palette ? If you answered yes, you should know that Chanel just dropped one that checks all  the boxes. The new  Chanel Les Beiges eyeshadow palette ($72) is a versatile dream come true, packed with a range of softer pinks for a frosty, snow-kissed glow perfect for the season. More importantly, it's available for less than $80, so you'll need to add it to your cart ASAP before other shoppers beat you to it.

Want to know which buzzy products are *really* worth buying?  Sign up for our shopping newsletter  to uncover our favorite finds.

In fact, everything in the  Chanel Les Beiges Winter Glow makeup collection  is under $100, including a new  blush  ($72),  lip balm  ($45) and  nail polish  ($32), so you can upgrade your whole vanity without breaking the bank. However, if there's one pick from the collection you'll regret not  buying, it's the oh-so-striking eyeshadow palette. Beyond its luxurious packaging, the palette stands out for its neutral-toned shades that go from soft to intense in matte and shimmery finishes. You'll have your pick of romantic rosy hues, designed to provide a "healthy winter glow"—like you've just come in from a rigorous walk in the chilly air. Not to mention, the palette comes with an easy-on foam applicator, so there is no need to spring for a brush; you can use this baby on-the-go if you need to touch up your eyes or other areas (some colors can even be used as a highlighter!). According to buyers, you probably won't need to, though, since the five rich, creamy pigments are long-wear-approved.

A close up of the Chanel Les Beiges eyeshadow palette.

Want to achieve the ultimate winter eye look? Here's a tip from Chanel: "Try applying the deeper shade to build intensity on brows and the lighter shade as a highlighter on cheekbones, brow bone, tip of the nose and Cupid’s bow." The brand also mentions that the shades should glide on evenly, so you don't have to be a pro to get the hang of it right out of the box.

One reviewer raves, "I didn't want to fall in love, but OMG this might seriously be the best luxury eyeshadow yet. Super finely milled powder shadow feels so soft and makes layering and blending so easy and looks professional." Um, say no more, we're buying this palette (along with the rest of the collection below) as we speak.

More Products from the Chanel Les Beiges Makeup Collection

Chanel les beiges blush.

Chanel Les Beiges Shoppable 1

Chanel Rouge Coco Baume

Chanel Les Beiges Shoppable 2

The 5 Best Winter Eye Shadow Palettes That’ll Bring Some Color to Your Face

Destinee Scott

Assistant Sales and Deals Editor

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FALL-WINTER 2023 COLLECTION

LIMITED EDITION

Makeup inspired by the autumnal equinox: a moment suspended in time, marking the beginning of Gabrielle Chanel’s favorite season. A luminous, comforting colour palette that evokes this enigmatic period, which walks the line between shadow and light.

OMBRE PREMIÈRE LIBRE

THIS EYESHADOW FEATURES A POWDERY TEXTURE, AS FINE AS A PUFF OF DUST, WHICH BECOMES CREAMY UPON APPLICATION FOR A SMOOTH FINISH.

Exclusive Creation DOUCEUR D’ÉQUINOXE

A BLUSH DUO THAT PAIRS AN INTENSE SHADE WITH A DELICATE ONE. THIS CONTRAST ADDS RADIANCE FOR A HEALTHY GLOW.

ROUGE COCO BLOOM

Now in 6 hues reminiscent of fall: a caramel beige, a brownish rosewood, a burnt sienna, a coral red, a true red and a black currant.

THE LOOKS FROM THE COLLECTION

Created by COMÈTES COLLECTIVE member Ammy Drammeh.

SHOP THE COLLECTION

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151402

402 - SYCOMORE

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151404

404 - CHÊNE BRUN

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151406

406 - CÈDRE CUIVRÉ

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151408

408 - ACACIA

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151412

412 - BOIS D'AMARANTE

OMBRE PREMIÈRE LIBRE Loose Eyeshadow Intense, Longwear Colour Ref. 151414

414 - MÛRIER NOIR

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172150

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172152

152 - SWEETNESS

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172154

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172156

156 - WARMTH

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172158

158 - BRIGHT

ROUGE COCO BLOOM Hydrating Plumping Intense Shine Lip Colour Ref. 172160

LE VERNIS Longwear Nail Colour Ref. 179163

163 - ÉTÉ INDIEN

LE VERNIS Longwear Nail Colour Ref. 179165

165 - BOIS DES ÎLES

We do not store nor share this information, and your image is deleted automatically when you close the virtual try-on page. See the CHANEL Privacy Policy for more information on Chanel's use of personal data. By clicking I agree, you confirm that you also agree to the Chanel Legal Statement .

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CHANEL No 5, RED MOSCOW, AND THE SCENT OF TOTALITARIANISM

NO FRAGRANCE, HOWEVER POPULAR OR LUXURIOUS, CAN MASK THE MALODOROUS HISTORIES OF IMPERIAL EUROPE. A NEW BOOK BY HISTORIAN OF TOTALITARIANISM KARL SCHLÖGEL UNRAVELS THE HISTORY OF TWO OF THE WORLD’S BEST-KNOWN PERFUMES – AND THE POLITICAL LEGACIES OF THE WOMEN BEHIND THEM: PARIS’ COCO CHANEL , AND MOSCOW’S POLINA ZHEMCHUZHINA MOLOTOVA , TWO LEADERS OF INDUSTRY, CULTURE, AND STYLE AT OPPOSITE ENDS OF A CONTINENT DIVIDED. THEIR SIGNATURE PRODUCTS – CHANEL NO. 5 AND RED MOSCOW, RESPECTIVELY – SHARE AN UNLIKELY ORIGIN WITH THE ROMANOV DYNASTY, AND A UNIQUE CAPACITY TO EXPOSE HISTORY’S SECRETS.

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To make this interview possible, Karl Schlögel invited me to his home, a bright and spacious apartment overlooking the Russian quarter in West Berlin. Only a few hundred meters away is a Russian Orthodox Church, the Resurrection of Christ Cathedral, whose three distinctive towers are sure to be noticed by anyone heading to the nearby Grunewald forest. Schlögel had politely declined the pandemic-compliant walk I had originally suggested. He reasoned, “I am able to think only while sitting or standing.”

So we sit across from each other in two armchairs. Placed on the bookshelf is a small bottle of the Soviet perfume Red Moscow – a gift to Schlögel from the East German journalist Jens Bisky. This flacon is central to the discussion that follows. Standing next to it, and given its own place of honor on the shelf, is a handsome pack of cigarettes, of the same brand favored by Joseph Stalin. But, as my partner in dialogue will later tell me, Stalin didn’t smoke them, as such – he would tear open the paper with his fingernail and fill his pipe with the makhorka tobacco inside.

Schlögel is an award-winning historian of the Soviet Empire, an inexhaustible topic on which he has published more than 15 books. His most recent venture, The Scent of Empires ( Der Duft der Imperien , 2020), is exceptional not only within Schlögel’s own œuvre but within the historical community at large, where few works have sought to describe a period of world history by way of its fragrance. In fact, only one other book comes to mind: The Foul and the Fragrant: Odor and the French Social Imagination (1982) by Alain Corbin, who reconstructs the history of public space during the Enlightenment through its olfactory dimensions – providing a fertile background for Patrick Süskind’s famed novel, Perfume (1985), among other things. Yet the surreal but true story that comes together in Schlögel’s latest work smells more like something of Thomas Pynchon’s than it does of Süskind’s. In literary terms, The Scent of Empires might be described as the story of a pair of “perfume twins,” separated in incubation by the changing global landscape of their era. Both are descendants of a fragrance created for the 300-year anniversary of the arrival of the Romanov dynasty in France. One, named Chanel No. 5, becomes world famous. The other, Red Moscow, rises to stardom behind the Iron Curtain. Created by the Moscow-born perfumer Ernest Beaux of Alphonse Rallet & Co., a Russian house and the foremost purveyor of fragrance to the imperial courts, No. 5 is raised in Paris by fashion doyenne – and Nazi agent – Coco Chanel, growing her namesake label into a global luxury brand and making the designer one of the wealthiest women of the 20th century. Red Moscow is the ostensible older twin, first produced before the 1917 Revolution by Rallet & Co.’s top competitor, Henri Brocard, as Le Bouquet Préféré de l’Impératrice (The Empress’ Favorite Bouquet). It was then given a Russian name and taken under the wing of Polina Zhemchuzhina Molotova: USSR perfume commissioner; wife of foreign minister and Stalin protégé Vyacheslav Molotov; “friend” of Israeli ambassador Golda Meir; and a Jew, imprisoned as the result of a purge campaign in 1949. (Zhemchuzhina survived and remained a staunch Stalin supporter.) Making appearances in the parallel stories of Schlögel’s perfume powerhouses are Tsarina Catherine II, Russian suprematist Kazimir Malevich, and Joseph Stalin himself.

A woman who wears no fragrance, as Coco Chanel famously said, “has no future.” But dropped upon the throbbing pulses of Europe’s western and eastern centers by the women who shaped its style, the continent’s perfume is also the expression of its secret past.

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In 1944, Chanel was interrogated by the Free French Purge Committee. After her release, she said to her grandniece, “Churchill had me freed.” Historians have speculated that Churchill was worried Chanel would expose Nazi sympathizers among the highest echelons of British elites – including the royal family.

Photo: George Hoyningen-Huene, 1939

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Polina Zhemchuzhina went to the USA in 1934 to study the country’s cosmetics industry, visiting 25 plants and stopping for tea with Eleanor Roosevelt. American women, Zhemchuzhina later said, applied cosmetics “freely, but never without a personal touch of taste.” Upon her return, she set to work on building up the manufacture and use of cosmetics in the USSR, receiving the Order of Lenin – the highest Soviet decoration – for her work.

Photo: Official Soviet portrait, 1943

How did you arrive at this topic?

It’s a simple story. I was in Moscow in the early 1980s to study and conduct research. I noticed a particular scent every time I went to the theater or attended some festive event there. I’m no expert in scents, but I stumbled upon the same smell later, when I was in the GDR – or, rather, in the officers’ casinos that were technically outside the realm of the GDR. In any case, the scent was always present at festive occasions. I did some preliminary research and discovered that it was the very same one I had encountered before, and the most prominent and popular perfume in the Soviet Union: Red Moscow. The perfume’s formula originates in 1920 but evidently goes back to prerevolutionary times. As my goal in the book The Soviet Century had been to shed light on certain rather astonishing continuities that undermined the great rupture in 1917, this particular history about perfume suddenly became a very thrilling subject to me.

You “caught the scent,” as it were. In your latest book, you write that one of the leading historians on the history of Soviet perfumes, Natalya Dolgopolova, described the 1950s and 1960s as the “Golden Age of Soviet perfumery.” The then-new Seven Year Plan (1958–65) had exceeded expectations. The gross weight of manufactured perfume, eau de cologne, and eau de toilette totaled around 30,300 tons in 1965, surpassing industry production in leading capitalist states in the second half of the 1960s.

All of these social realities – and the upheavals in particular – also played out on an olfactory stage, in the world of fragrance. The second discovery I made was that Chanel No. 5 was also of Russian origin. Previously, I never had anything to do with perfumes or Chanel. But I discovered that No. 5’s perfumer came from Russia and had previously worked at a French perfume factory in the Russian Empire. Knowledge of this shared origin was something we lost because of the way the world became divided after 1917. This similitude endowed the story with a dynamic I was not prepared for: it became clear to me that the course of the 20th century could be told through this story.

This lens would reveal facets of world history that had previously been undetected.

Before this research, I had no idea that Polina Zhemchuzhina had had anything to do with the perfume industry. I knew the name only as a defendant in the trials from the end of the 1940s, and as the wife of Vyacheslav Molotov. I also didn’t know that Kazimir Malevich had designed a flacon for Red Moscow. All of this came together gradually and could later be congealed.

No one has told this story before you?

When you work in this field, you quickly realize that you’re never on your own. There’s a whole Russian discourse on perfume. It’s like railway enthusiasts: there’s a sophisticated and specialized scene that engages with this cosmos on the Internet. Yet what’s decisive for me is the intellectual approach. I am someone who rigorously pursues that which is visible, what’s tangible – the artifacts. I’ve mostly worked on places and cities. To me, architecture and urban sites are documents. As such, my actual aim is to give the senses their due place – but not theoretically! Not as an “olfactory turn,” but as self-evident fact. The sense of smell plays a decisive role in memory. By the way, I only read Patrick Süskind’s novel post festum. What can I say? Fiction is not my forte. All the same, Perfume left a lasting impression on me – not only as a literary work but also because every sentence shows that the author delved deep into the history of perfume production. I didn’t have a clue about perfumes until I made my discovery.

Not even for personal use?

After the initial spark of Red Moscow, I started looking at perfume within the context of Soviet history. I was in Munich at the time, and I went to a cosmetic shop to ask whether they carried Red Moscow. They didn’t, of course. So, I bought myself a small bottle of Chanel No. 5 as a consolation prize.

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Chanel’s perfume of choice was No. 5, but her agent number was F-7124. Her code name was “Westminster,” after her former lover the Duke of Westminster.

You dedicated your book to the late Karl Lagerfeld, which is probably unique within historical scholarship. Lagerfeld, who really turned Chanel into the global brand it is today, revealed in a book published alongside his 2008–9 Metiers d’Arts Paris–Moscou collection that the secret of No. 5’s success had to do with France’s “Russian connection” – a cultural and commercial lineage that was buried by the Second World War and Stalinism. He alludes to the friendship between Gabrielle “Coco” Chanel and the Grand Duchess Maria Pavlovna, who founded the Russian fashion house Kitmir. It was a clever move on Lagerfeld’s part to focus on the era before National Socialism. Coco’s reputation had been severely damaged by the discovery of her love affair with Baron Hans Günther von Dincklage, a Nazi functionary and official confidant to Hitler. It’s an extremely interesting issue, and Lagerfeld plays a role in reshaping the modern historical narrative by sidestepping it. You note early on in your book that fragrances disappeared from historical narratives when the eye became the organ of reason during the Age of Enlightenment. You write about a historical scholarship that’s been deodorized. One thing that’s remarkable about your approach is that the book itself is composed like a perfume: it has light, almost bright overtones, but also a heavy, musty chord that fortifies the whole. I don’t want to talk about skatoles necessarily, but the book’s contents are also concerned with the stench of history – with the scents of the concentration camps and in the gulags of the Stalinist Soviet Union.

This is also something that simply happened. I always have faith in the potency of the material. Nothing needs to be invented, everything can be discovered – or revealed. If all of your senses are activated, the Russian Revolution is not merely a story of directives, decrees, appeals, programs, and so on. Rather, it’s a simple and yet incredibly complex story. The story of the Russian Revolution could be told as one of an entirely new world of fragrance encroaching on an ancient one – that is, on the cordoned-off aristocratic realms of the theater, the opera house, and the salons of grand bourgeois residences. The work is also about these spaces, and their transformation into places of entirely different olfactory connotations.

Alain Corbin also wrote on perfume in the context of the leadup to the French Revolution. You write that the names of perfumes from the new era you describe are political – that the world of fragrances became semantically Bolshevized when cosmetics were given names such as Golden Era, New Way of Life (Novy byt), Red Poppy (Krasny mak), Spartakiada, Hero of the North (Geroy Severa), and Avantgarde. Later, during the Sturm und Drang era of the first Five Year Plan, these goods would bear the names of communism’s construction sites: Stratostat (a kind of tethered balloon), On Guard, Our Answer to the Kolkhoz Farmers (Nash otwjet kolchosnikan), Pioneer, Tank, White Sea Canal (Belomorski kanal), Kolkhoz Victory (Kolkhoznaya pobeda), and Greetings to the Chelyuskins (Privet Chelyuskinam) – the [last one] named after the Soviet expedition ship that was trapped in the Arctic Ocean’s pack ice in 1933 but whose crew was rescued. Each new fragrance thus became a hallmark of the new class of social climbers.

Suddenly, an apartment where a family of four once lived with three service personnel became one where 40 people were living – and this was reflected in terms of smell. Not to reduce history to the nose again – I object to such simplifications. The issue is about expanding the register of perception, expanding the repertoire for models of description. The work is about a social upheaval in soundscapes as well as scentscapes, which have not been depicted so far. It’s a history of perception. And if you want to delve into the complexity of such a history during an upheaval, then you need to go about it like Alain Corbin did – in this case, for the 20th century.

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Class consciousness is also generated from odors – a point you make when quoting George Orwell: “The lower classes smell .... No feeling of like or dislike is quite so fundamental as a physical feeling.” You note that people in the East were thinking along similar lines when they spoke of the “crystalline purity of the party,” the “rotting bourgeois intelligentsia,” or even about “purges.” The scent of lavender, as it appears in the chansons of Alexander Vertinsky for example, signifies decay, decadence, and degeneracy in the eyes of those tasked with guarding Bolshevik morality. It wasn’t long until political adversaries started being called “Trotskyite Pyatakovian degenerates” who belonged in the “ manure heap,” in the “trash heap of history.” An awareness of scent bolsters one of class struggle – and you sniff your way into that psyche.

Anyone here in Berlin who used to walk across Friedrichstraße and enter East Berlin through Checkpoint Charlie would have immediately smelled that they [had] entered another sphere. You could smell the disinfectant Wofasept, which was ubiquitous in the GDR. Incidentally, this is an odor that has since been eradicated: although the disinfectant is still produced, its scent has been diminished. But back then, the smell of Wofasept, like that of Red Moscow, was an indication of the partition. One’s memory of such indications [is] just as powerful as the recollection of the crossing of the borders themselves.

Even today, coming from Germany, there is a change of scent when you cross the bridge from Görlitz into Poland. This has to do with the different way that the radiators are constructed: the pipes in pubs in Poland give off a different heat than those in Germany.

I believe it would be tremendously beneficial if the senses were restored, if they were included as one of the instruments for historical scholarship. This would be a gain in complexity – in our understanding of reality. It would also be a gain in possibility, in the potential of penetrating the experiential space of the past, which remains barred to us. The question is: why aren’t specialized knowledge and specialized perspective given complete expression in the sphere of historical scholarship? Likewise, and seen from the other side, scholars of history don’t grant things like fragrances the value and import that they deserve.

Perhaps it’s because the discipline of history considers them to be trifling, fleeting, even? You also write about the complicated issue of “luxury and fashion” at times. Perhaps this isn’t significant enough from the perspective of the ivory tower, either?

This idea appeared recently in an article by Hans Magnus Enzensberger in his magazine Transatlantik . Enzensberger is someone who has always paid a great deal of attention to everything those in that ivory tower have overlooked. And from aesthetics and media scholar Bazon Brock I learned that it is just as feasible to tell the history of a given society through a history of luxury – and perhaps it can even be done better, more concisely through that lens – as it is through a history of everyday life.

The second reason I think your book is so remarkable is that in a number of places I was sure that I was reading fiction .... I was reminded of a novel by Thomas Pynchon. It’s incredible how many elements and people come together and are connected as a result of the history of two perfumes. You write that a bottle of Chanel No. 5 was actually walled in as a founding stone for the French pavilion at the 1939 World Fair in Paris. Not long afterward, the Second World War broke out. Only a few years later, Polina Zhemchuzhina was released from an internment camp, and [she] asked whether Joseph was still alive. When she was told that Stalin, the very person who had sent her into exile in the camp, was “no longer with us,” that he had died in the meantime, she suffered a nervous breakdown. This is the same woman who is responsible for the production of the Red Moscow perfume, as well as soaps – soaps that you describe as being shaped like cornichons. All of this is said to be true, but it’s a truth stranger than fiction.

In my experience – and this happens almost every day – there are things that take place that go beyond our for-the-most-part-limited imagination. Who among us could say they had foreseen that a figure like Trump would be able to shake America so deeply, or were prepared for the explosion of malice, lies, deception, agitation, and hatred. This would have been inconceivable to me even a year ago. Then there’s Putin: if you observe his press conferences, his staged appearances dispatched from a bunker, and particularly the statements his press officer Dmitry Peskov makes, terms like “cynicism” hardly do it justice. We have grown up in a world that lacks experience of war and revolutions. Maybe all of this is still to come. But such figures, such acts of disgrace, of malice, or even of heroism and bravery, have never appeared on the horizon in my own lifetime. This is why great literature is immensely valuable to me. I am of the opinion that it is impossible to understand a time or an epoch without activating its finer registers – the registers of poets, artists, musicians, and so on. This isn’t the opinion of every historian. We need to brace ourselves – and I don’t mean this psychologically, but rather in the sense of the great historian Reinhart Koselleck – for things that Europeans alive today have never had anything to do with. Riots, brawls, torture – our sensory apparatus hasn’t been properly educated for such things. I would also say that our language is lacking. We need to learn. One can protest, of course. But protests often only serve the function of relieving one of one’s guilty conscience. If you yourself do nothing, if you’re not able to do anything, then you want to rid yourself of this feeling of paralysis. It’s always easy to blame the political classes for everything, with regard to the people who are responsible for finding a language for everything that’s happening. As is always the case in such situations, this is particularly true for the journalists who are reporting from the front lines of the present world. For me, the people who are involved in the current turmoil, who look and listen carefully, and who keep their cool in moments of grave danger and ample distraction, these people are those who are capable of transforming our worldview.

“No elegance is possible without perfume. It is the invisible, ultimate, and unforgettable accessory.” – Coco Chanel

Yet we’re currently living in a time that’s almost a dream state, where we’re unwilling to leave the old world we know behind. You can pretend that this is only a brief crisis. Sure, the Capitol was stormed; okay, there’s a man there who is half-naked and has a Thor hammer tattoo near his groin and who painted his face in red, white, and blue before praying in Congress’ legislative chamber. You can pretend that this will pass and that we will return to some kind of order – but there’s no guarantee.

This is the condition that’s the most difficult to bear: that a situation remains entirely undecided. And I don’t mean this in relation to the American upheaval. In dismantling the old world order, we’ll once again be confronted with the task of rethinking everything. Nothing is self-evident. This sense of basic trust accumulated during the relative stability of the postwar period is dissolving. This is why a sense of orientation is needed, why there’s an incredibly strong demand for a steady hand. Whoever is able to meet this demand will prevail. All of us are implicated in a process of reorganization that we can’t turn our backs on. When those familiar and customary certainties are no longer valid, then it’s a very risky situation – but also one that has the potential to be incredibly rewarding, intellectually speaking. It’s actually a splendid situation! To face it without fear, without taking common sense or everything that’s become customary into account – there’s a monumental story in there. And this is why I believe we’re not keeping pace with the times.

I can only speak for myself, but I am overcome with a feeling of powerlessness – intellectually, verbally, and as a writer – whenever I am supposed to give an adequate response to what should be done about Russia. Of course, one could express oneself with the language of protest, of condemnation, which is also necessary. But in order to face the array of imperial power alongside a state intelligence that is criminally motivated and driven and a parallel increase of entirely new media resources – that is, in order to face this postmodern mixture of Hollywood, KGB, and tradition – it’s by no means useful to make reference to historical analogies. This is where the line of show trials during the 1930s emerges – and all that isn’t wrong. But in order to get to the core of why this particular figure has been able to rise to dominance, and why we only ever react – well, something is still wanting. What is needed, for example, is the realization that Putin, as immensely powerful as he is, is also incredibly ridiculous at the same time. This man is simply too small for this wonderful and rich country.

Are you suggesting that Putin isn’t cruel enough?

No. By “too small,” I mean someone who is not keeping pace with the times. The empire is over. What’s needed is someone who will face up to the tasks of sweat and tears, someone who takes his people as seriously as they deserve, instead of treating them like infants and seeking refuge in a phantasmagoria of threats coming from outside. Like the idea that Germany or the USA [is] hatching plans to overthrow him, that revolutions should be instigated – that whole repertoire. By “ big,” I mean someone who is daring, someone who has the courage to tell his nation what’s happening. Who doesn’t always blame others, who takes responsibility to put the country in order. And by that, I mean what everyone in Russia already knows, what Mikhail Gorbachev and everyone else had already said: to finally become a normal country. No more utopias. Instead, simple things that the rest of the developed world, to which Russia belongs, has become accustomed should also gain traction. From someone in Vladimir Putin’s position, I expect courage, fortitude ...

... statesmanlike behavior?

Statesmanlike, yes, not only in terms of a foreign policy agenda, but in addressing the citizens of his own country. After the coup in 1991, I was actually quite confident. For me, one of the greatest moments at the time was when Boris Yeltsin addressed thousands of people who had gathered together – “Citizens of Russia!” This was a provocation: it said, we’re going to deal with this right now! But the fact that the balance of power was much more complicated at the time is another story.

The affiliation between Paris and Moscow is a major focus in your book, as something that both sides invoked. The Russian perfume industry tries to imitate the French, while Coco Chanel alludes to the magic of the Tsarist era. When the bond broke, that shared history was forgotten.

The connection you refer to was very strong – and it took a very long time to dismantle. Russia had an incredibly strong cultural presence in France before the Russian Revolution. This was epitomized by Sergei Diaghilev – who, by the way, I consider to be one of the most significant cultural figures of all time – and his “Saison Russe.” Then there was the entire 1920s, the milieu of fellow travelers and of the emigrés. It was a given that people such as Ilya Ehrenburg drifted between cultural worlds. And it took the total devastation of war to bury all of this under ruins. Add to that the very long Cold War – half a century – and you have generations where something simply went missing.

The image of France became commodified in Russia during the Cold War. People coveted Chanel No. 5 and dreamed of the Moulin Rouge. But no cultural connection existed outside of the market. And it was no longer reciprocal: to western Europe, Russia was seen as an empire of scarcity with a toilet paper shortage.

The French were icons of luxury and refinement. That remains true today in terms of the country’s brand. In the world of luxury and fashion, France remains a global force. Russia’s appeal lies in the reserves of its literature. There’s also Russian engineering. For me, Russia is a country of engineers – somewhat like America, in fact. An exhibition about Russian engineers – real ones, not the “engineers of the soul,” as Stalin called his writers – is something I can well imagine.

Is that quote really from Stalin?

It might have been Maxim Gorky. It’s often said that great culture is only created from suffering. It’s somehow fitting: the writer as the spokesman for his people, for his nation; literature as a sacrifice that’s associated with self-sacrifice, far from literature as an industry. There are representative figures for this in Russia: Aleksandr Solzhenitsyn, for instance; Varlam Shalamov; Vasily Grossman. Such literature is associated with the experience of suffering and sacrifice, and, above all, with the knowledge of what the Germans did in Russia.

This is often noted, but there was an immense number of victims under Stalin.

Yes, but this is a German problem. The history of violence within Russia has disappeared behind the shadows of the violence of world war. That’s how it is being told today. In Putin’s politics of memory, the war is mostly a heroic story. It’s also a story about the victims of German violence.

Has there ever been a Russian version of the German “Vergangenheitsbewältigung” – a concept understood as the process of coming to terms with the past?

Certainly! But under completely different conditions. There were several attempts, first during the so-called thaw. The prisoners returned from the camps, but they weren’t allowed to talk about it, and they were ashamed of having served time as traitors. This is why Solzhenitsyn is so significant: as the author of The Gulag Archipelago , he was the first person to describe the experience in the camps. The three-volume account was an intellectual atom bomb. Vasily Grossman’s novels, which I consider to be some of the greatest books of all time, were all written during this time, but had to be smuggled out of the country in order to be published. Shamalov also wrote stories after returning from the camps – but his were published. One has to imagine: intellectual work in these issues was being done the entire time, but much of it was never allowed to come to light. At least not until perestroika, when the earth-shattering things were surfacing on a daily basis – a period of wild thinking, excavation, and discovery lasted throughout the 1990s. Then, as things restabilized, an old guard made up of former secret service agents and oligarchs returned to power, and returned to discipline. They began by making it more difficult to access archives, closing entire departments and persecuting historians who had anything to do with such business. At the same time, they started to take history in their own hands. Putin himself was present at the inauguration of the “Wall of Grief,” a monument to the victims of political persecution. The only major event in Russian history that has been retained is the Great Patriotic War against Napoleon I. Everything else has been redacted. The Russian Revolution doesn’t even exist anymore. There’s no Great Terror. It’s all been cast aside, relegated to thick leather-bound volumes found in small editions in Russian bookstores – which are fascinating places, by the way. You can find literally everything there.

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There’s an incredible, Pynchonesque moment in your book where an 85-year-old Coco Chanel receives a visit from an ambassador from the Soviet Union in her suite at the Ritz, where Chanel resided throughout the German occupation, despite its being reserved for military officers – an arrangement brokered by her aristocrat lover Baron Hans Günther von Dincklage. The Soviet ambassador gifts her some Russian perfumes and suggests that Chanel start redesigning Russian merchandise. One perfume is called White Lilac, and the other is Stone Flower, which is named after a Stalin-era fairy tale movie. Both scents pleased Madame Chanel, who apparently also told Roland Barthes about it. The French theorist reported that Chanel was planning to travel to Moscow, to help a society that was in need of “aesthetic innovation.” That was in 1968. But nothing came of this plan.

Coco Chanel – and this has been verified – had an interest in sitting out the period that followed the Allies’ Anti-Hitler Coalition and the beginning of the Cold War. She would benefit simply by letting the time of isolation pass, waiting on things to thaw. The American National Exhibition in Moscow in 1959 suggested that such a thing might actually happen. It was a remarkable event for this generation: there was the state visit of Richard Nixon and his famous “kitchen debate” with Nikita Khrushchev; Buckminster Fuller, Raymond Loewy, and Duke Ellington were all there, as was the Paris fashion scene. Dior hosted a fashion show in Moscow, where there was local interest in reestablishing a common culture, and in catching up with France’s leadership in style and design. During this relatively relaxed period under Khrushchev, enough openness existed that people were able to learn as much as possible. The goal was to eventually exceed its freedoms, of course, but the Khrushchev Thaw was already over by the mid-1960s. Another short span of time sadly faded, then [was] lost from memory. It’s important to speak about the entire generation that ended up being deprived as a result – of their career and of an important period in life. Today, images of Moscow show a city and country that has changed yet again – and fashion remains in the political backdrop. Rows of thugs they call “Cosmonauts,” dressed in head-to-toe riot armor, march through the pedestrian passages of Moscow, past Gucci, Dior, and Chanel storefronts, to beat up protestors.

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    One, named Chanel No. 5, becomes world famous. The other, Red Moscow, rises to stardom behind the Iron Curtain. Created by the Moscow-born perfumer Ernest Beaux of Alphonse Rallet & Co., a Russian house and the foremost purveyor of fragrance to the imperial courts, No. 5 is raised in Paris by fashion doyenne - and Nazi agent - Coco Chanel ...