It was in 1931 while in Monte Carlo that Chanel made the acquaintance of Samuel Goldwyn. The introduction was made through a mutual friend, the Grand Duke Dmitri Pavlovich, cousin to the last czar of Russia, Nicolas II. Goldwyn offered Chanel a tantalizing proposition. For the sum of a million dollars , he would bring her to Hollywood twice a year to design costumes for MGM stars. Chanel accepted the offer. En route to California from New York traveling in a white train car, which had been luxuriously outfitted specifically for her use, she was interviewed by Colliers magazine in 1932. Chanel said she had agreed to the arrangement to see what the pictures have to offer me and what I have to offer the pictures. This enterprise with the film industry left Chanel with a dislike for the business of movie making and distaste for the Hollywood culture itself, which she denounced as infantile. Chanels verdict was that: Hollywood is the capital of bad taste...and it is vulgar. Ultimately, her design aesthetic did not translate well to film, failing to satisfy the standard of Hollywood glamour of the era. On screen her creations did not transmit enough dazzle and sexy allure. Her designs for film stars were not acclaimed and generated little comment. Despite her failure in Hollywood, Chanel went on to design the costumes for several French films, including Jean Renoirs 1939 film La Rgle du jeu where she was credited as La Maison Chanel.
Chanel was the mistress of some of the most influential men of her time, but she never married. She had affairs with the poet Pierre Reverdy, and illustrator and designer, Paul Iribe. After her romance with Reverdy ended in 1926, they still maintained a friendship which lasted some forty years. Her involvement with Iribe was a deep one until his sudden death in 1935. Iribe and Chanel shared the same reactionary politics, Chanel financing Iribes monthly, ultra-nationalist newsletter, Le Tmoin, which fueled an irrational fear of foreigners and preached anti-Semitism.
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