FASHION Magazine

Gabrielle “Coco” Chanel, born on Aug. 19, 1883, was a true Leo. Bronze and marble lions litter the interior of 31 Rue Cambon, where she spent her life; in Lausanne, where she now lies, five lions sit etched on her tombstone. Beginning in the 1920s, the buttons of her soft tweed suits often bore symbols, including lion’s heads, and, as befits her leonine birthright, those suits won her king-sized fame. And yet, in the ’30s, Chanel found herself eclipsed by a Virgo.

Elsa Schiaparelli, born on Sept. 10, 1890, spent her childhood surveying the heavens. Her uncle, Giovanni, was a well-known astronomer, and it was he who pointed out that the moles on her face formed the constellation Ursa Major. In Schiaparelli’s 1938 Zodiac collection, the constellation glitters over the left shoulder of a blue velvet jacket that’s as lushly bizarre as Chanel tweeds are classic. Together, she and Chanel set up fashion’s organizing dichotomy—high art or expensive habit?—and they remain the century’s most important couturiers.

They loathed each other. Schiaparelli referred to commercial, streetwise Chanel as “that milliner,” while Chanel called the surreally cool Schiap “that Italian artist who makes clothes.” In fact, besides talent and mutual disdain, the only thing these two had in common was a belief in the very system that best explains their differences.