Coco avant Chanel is less an evolution of the most famous fashionista of the last century, and more an exploration of how an influential figure found love while finding her calling.

Directed by Anne Fontaine, Coco avant Chanel is based on the life of influential fashion designer Gabrielle ‘Coco’ Chanel. Or, to be more precise, Fontaine recreates a pivotal period in the life of an artist who would go on to create an empire bearing her name, by submerging from the depths of her self-wallowing and the poverty which fuelled it.   

The film begins with young Gabrielle and her sister Adrienne abandoned at a Catholic orphanage by their father. 15 years later we find the two women - played by Audrey Tautou and Marie Gillian, respectively – working as seamstresses by day and cabaret performers by night. It is here where Gabrielle is given the nickname Coco.  

After Adrienne leaves her sister for a wealthy suitor, Coco finds herself alone with no money or aspirations. Witnessing her sister’s ascent into the upper echelons of French society, Coco decides she also wants in on the rich life.  Enter socialite and baron, Etienne Balsani (Benoit Poelvoorde), whom Coco uses to springboard herself into the upper class, moving into his country chateau and taking advantage of his affection towards her.   

While mingling amongst aristocrats and artists, Coco pounces on every available opportunity to prove herself as an individual to be recognised and respected. Without a name or title, Coco uses her unorthodox fashion sense to turn heads her way, in the process unintentionally ushering in a new fashion revolution, built on a decree to have women’s fashion be tasteful and comfortable.  

To achieve her goal, a three prong attack was deployed: first to strip away the countless trinkets and accessories which weighed down the overstuffed frocks of the elite; second to rid women’s fashion of the self torture device known as the corset; and third to apply the appropriate attitude, i.e. more masculine and independent.   

As a result a simple elegance is achieved. To reiterate the point, Fontaine constructs a scene where a swooning Coco, draped in a slinky black dress, moves amongst a sea of white clunky frocks during a Parisian ball.  

Yet it is not the clothes which sell the movie, but the happenings during their construction which makes Coco avant Chanel a winner. And just like a rags to riches fairytale should, it is love that will be remembered upon its conclusion, thanks to the romance between Coco and British raised businessman Arthur “Boy” Capel (Alessandro Nivola).

That their love ends in tragedy is beside the point: it is the emergence of Coco’s passion as both a lover and artist that makes the film, as it is Audrey Tautou’s endearing portrayal.      

Present in almost every frame, Tautou delivers her finest performance to date, projecting both Coco’s tough exterior and inner fragility (not weakness), while putting on a sensual display of albeit brief fashion craftsmanship, all done with a subtle pout.