A monumental gathering of some of Palm Beach’s most fashionable and engaging women, along with a few of their favorite men, descended on the Norton Museum of Art for a Chanel and PALMER hosted screening of Lisa Immordino Vreeland’s latest documentary on Jean Cocteau.

Included were a distinguished group of 125 Palm Beach art collectors, style makers, entrepreneurs and philanthropists including Arriana Boardman, Victoria Hagan, Jane Holzer, Carol Mack, Nicola Marcus, Amy Phelan, Beth Rudin de Woody, Amy Baier, Christine and Gene Pressman, Gayfryd Steinberg, Eleanora Kennedy, Cathy Graham, Ghislain d’Humières and Nicolas Robertas, Gigi and Harry Benson, Wendy Cox, Hillie Mahoney,  Jocelyn Javits, Nicola Marcus, Lisa and Richard Perry, Liz Peek, Lynne Wheat, Makenzie Phelan, Whitney Schott, Serena Woodward, Emma Holzer, Mary Hilliard, Nathalie Kaplan, Yaz Hernandez, Delfina Blaquier and Nacho Figueras, Daisy Soros and Tessa and Barron Hilton. 

The evening commenced in the museum’s grand reception area with a pre-screening welcome reception, after which guests proceeded to the Stiller Family Foundation Auditorium to view the documentary. The film was followed by an engaging conversation between Immordino Vreeland and PALMER Editorial Director Stefano Tonchi. Later, in the museum’s enchanted garden under a sky full of stars, guests engaged in amusing conversations while enjoying cocktails.

The film gracefully unfolded the life of the 20th-century French poet, playwright, novelist, designer, film director and visual artist. Part of the Dada and Surrealist art movements, Cocteau developed strong ties with famous artists of the era including Pablo Picasso, Marcel Proust, André Breton, Raymond Radiguet and Arno Breker.

His work with Gabrielle Chanel was also highlighted as Chanel created the costume design for five of Cocteau’s theatrical works from 1922-1938, including the revival of Parade, which became a success the second time around thanks to the renowned designer and her incomparable influence on the world of art and style. Chanel maintained close ties with the world of film throughout her career, working with the leading filmmakers of her time, and supporting her fellow creative peers. Building on this rich heritage, Chanel is committed to supporting cinema by creating opportunities to celebrate and amplify the voices of film’s most talented and audacious storytellers.

Immordino Vreeland — whose sophisticated eye is well known as she documents the lives of some of the most transforming figures in art, culture and fashion including Diana Vreeland, Peggy Guggenheim and Cecil Beaton — became interested in Cocteau after his name continued popping up in other pieces she created.

“I really wanted to present him in a way that covered the full breadth of his work, as he did so much,” she said. “My goal is always to capture a place in time with the portraits I create of these characters, to analyze their creative process and understand the guts of who they are…their inner soul and their creative process.”

Cocteau had a magical, almost dream-like spirit, but, said Immordino Vreeland, possessed a deeper side as well. “I knew a lot about him, but the sensitivity of the man was new to me. There was a clear sense of abandonment and loss.”

Despite many obstacles, Cocteau remained optimistic throughout much of his life.

His words—“A poet must die many times before he truly lives,” he stated towards the end of the film, “but one must never give into pessimism. My hope for the youth of the future is that they don’t become like robots, but maintain their humanity”—left the audience riveted.