The opportunity to dare and the boldness to disrupt the norms yet in addition a touch of karma. Coco Chanel was not just the incredible sewer who changed her life into a fantasy yet additionally a resilient lady, equipped for leaving her imprint with self-assurance and enthusiasm. This is the place where Laure Duval, pen name of the Parisian essayist – however Milanese by reception – began from here, who tells the incomparable French originator in her first novel ‘The period of the breeze – Coco Chanel’s adventure among opportunity and fate’ to be delivered tomorrow for Mondadori types,
‘The period of the breeze’ is a genuine female adventure, which follows the occasions encompassing the existence of Coco Chanel, with the exactness of a chronicled novel. Not an account but rather a choral story of opportunity and self-assurance with numerous profoundly unique heroes: from Misia Sert, bet litteram ‘influencer’ to Diana, a Red Cross medical caretaker who tells the Great War from the remarkable perspective of ladies at the front. Against the scenery of this female epic, among turns and trying experiences with Picasso and Cocteau, the breeze of war that will change history until the end of time. The volume opens in the spring of 1913, when surprising, brave dresses and caps with delicate and straight lines showed up in the roads of Deauville. These are the manifestations of Gabrielle Chanel, Coco for companions, a delicate and insubordinate young lady, who has quite recently opened her second shop here. Gabrielle’s life and style are set apart by the quest for opportunity: independence from social shows, from the long trains with which one can’t stroll, from the intriguing features and from the bodices that abuse the female body in those years. It is her creativity that dangers blocking her prosperity, in design and in affection, and it is a test that she can’t bear to lose, in spite of such countless snapshots of extremely human delicacy. These are the conflict years, another world has arrived and the unavoidable trend is blowing unequivocally for everybody, driving everybody to confront decisions with no chance back: for Gabrielle, who should battle to avow her style house and make her own space; for Arthur, his incredible love, who looks for the harmony between the past and the future, among theory and activity; and for Aurore, their servant who has quite recently emerged from the religious circle, who feels scared and awkward at the heartlessness of the entertainer. In any case, the conflict will likewise save inconceivable changes for her. The Bildungsroman unites authentic characters with others of innovation, brought into the world from a trace of the real world (the server who trim Coco’s hair, the English tailor who made the maison’s first garments … ), to allow the peruser to enter the universe of a visionary lady with an until now neglected perspective.