出生于1883年8月19日的可可·香奈儿开创了运动服装的先河，将不起眼的运动衫变成了高级时装面料，并推出了世界上最经久不衰的香水之一——香奈儿5号。高级的couturière也有自己的房间，从她在巴黎坎邦街31号的三楼公寓(作为纪念她的圣地保存下来)，到她在广场丽兹酒店(Ritz hotel)的公寓Vendôme，再到她为情人威斯敏斯特公爵(Duke of Westminster)装饰的苏格兰钓鱼小屋法国南部的别墅．正如她曾经观察到的那样，“室内设计是灵魂的自然投射”，对她来说，这意味着奢华与朴实的感官融合，以大量的黄金、大量的亚洲工艺品和小羊皮为重点。这一切都是她奇妙的个人风格的一部分，在她的一生中吸引了全世界——下面列出的只是我们最喜欢的一些。
科罗曼德尔屏风:受她的英国情人Boy Capel巴黎公寓装饰的影响，香奈儿买了几十个古董科罗曼德尔屏风，它们的烟熏漆面板上有扇子、岩石景观、动物和其他图案。有时她把它们以镶板的方式一墙接一墙地安装起来，而另一些则用作分隔物，在这里围出一个座位区，在那里重塑一个房间。她的公司有一款带有琥珀气味的香水，名为科罗曼德尔(Coromandel)，以表达对收藏的痴迷。水晶:晶莹剔透或有着引人注目的纹理，这种奢华的石头出现在香奈儿的私人世界里，被制成台灯、枝形吊灯、水晶球，让她的房间里布满了亮片。米色很美:中性的大地色调是香奈儿内饰的基础色，尽管她用黑色、金色、棕色、蜂蜜色和朱砂加深了它，这个调色板让人想起她的西班牙艺术家朋友José María Sert所画的奇幻而高度时尚的壁画。这位时装设计师著名的、被很多人效仿的卷臂沙发，是她在rue Cambon公寓的沙龙里的一个特色，沙发的软垫是米色麂皮，上面有黄铜钉头的轻微轮廓，还有块状的金叶腿。金子，金子，更多的金子:康邦街的沙龙的墙壁用暗金色的织物伸展;镀金涂层镜子和相框;迷人的金色盒子陈列在鸡尾酒桌上;桌子有一个金色的底座，形状是一捆小麦。 Pairs of animals—lions, deer, camels, horses, birds, frogs, antelope—are in abundance at rue Cambon, on tabletops and atop bookshelves, and in many materials: ceramic, stone, and brass. To ward off bad breath, Chanel often tucked a clove under her tongue after meals. The designer’s preferred beverages were Sancerre wine, Stolichnaya vodka, and ice-cold Krug Champagne. Hundreds of handsome leather-bound books fill rue Cambon’s surprisingly humble wood bookshelves, the volumes clad in shades that matched the decor and all glimmering with tooled gold accents. Mirrors, mirrors everywhere: Chanel placed sheets of mirrored glass between the windows of the dining room and the salon and hung framed mirrors—including her beloved flower-bedecked Venetian examples—in niches and above mantels, expanding the spaces ad infinitum. In some spots, mirrors were even hung atop mirrors. Chez Chanel, curtains were straight, perfectly tailored panels of fabric, with no furbelows, flounces, or folderol. Usually white or ivory and sometimes of taffeta. At La Pausa, the seven-bedroom stucco villa she built in the South of France with architect Robert Streitz, Chanel furnished the airy, ivory-white rooms with sober, sexy ruggedness. Sixteenth-century French chairs were upholstered in leather; Spanish tables of the same period hugged walls; paintings from the School of Velázquez hung in the salon; and parched-wood doors, mantels, and panels added to the luxurious yet monastic air. Table settings were strong and simple, honest textures being more important than color and ornament. A period photograph of Chanel presiding over a luncheon at La Pausa shows the naked wood Gothic dining table set with forthright tableware: dead-plain goblets, shapely but unornamented carafes, strong but streamlined silver flatware, and crisp place mats. Chanel’s South of France menus were hearty and countrified. As a friend,时尚时尚编辑贝蒂娜·巴拉德(Bettina Ballard)曾写道:“(La Pausa)长长的餐厅一端有自助，有热的意大利面食、冷的英国烤牛肉、法国菜，什么都有一点。”
