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Gabrielle Chanel’s life in music:

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It’s a hymn,
echoing through the Abbey of Aubazine.

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The orphan sang to escape;
the music transported her.

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It’s a popular song,
in a live entertainment bar in Moulins.

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To lift her spirits in the evenings,

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the young apprentice seamstress
would sing <i>Qui qu’a vu Coco</i>.

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Hence the nickname Coco.

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It’s a Bel Canto Aria,
in a Parisian salon.

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Gabrielle bought herself a grand piano 
— her first major purchase —

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to listen to her friends Poulenc,
Satie, Auric, and Misia play.

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It’s Igor Stravinsky’s <i>Rite of Spring,</i>

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a <i>Ballets Russes</i> production
which Chanel financed in 1920.

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She hosted the composer
in her home for a year.

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“Stravinsky taught me about music.

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The little I know,
I owe to him” she said.

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It’s a jazz improv,
at Le Bœuf sur le Toit,

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a popular meeting place
for the great artists of the day —

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including Diaghilev, Cocteau,
Picasso, Ravel, Satie, and “the Six”.

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It’s a blues melody,
which she would sing in her car,

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<i>“My woman,
she has a heart of stone”</i>

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with such a strong French accent
one could hardly recognize the words.

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It’s a rock or pop concert.

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Mademoiselle was happy perched
on a fold-down seat

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to see Johnny Hallyday in Paris,

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or traveling to London
just to see the Beatles.

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It’s a Broadway musical,
inspired by her life and work.

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<i>Coco,</i> starring Katharine Hepburn,
was performed more than 300 times.

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It’s a playlist that’s eclectic,
just like Chanel herself.

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The harmonies chimed
with her refined style,

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the notes with her perfumes.

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It’s the original soundtrack
of a life of creativity.