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Salvador Dalí’s work is immeasurable—and his wife Gala played a major role in that success, reports WWD.

A new book, Surreal: The Extraordinary Life of Gala Dalí, explores her involvement in his career, life, and adventures. Author Michelle Gerber Klein details how, after living through two world wars, the Russian Revolution, and the Spanish Civil War, Gala Dalí became more than just a muse, but an influencer of cultural history herself.

A style icon, unofficial brand ambassador, and business partner, she was also an artist who collaborated with two monumental 20th-century talents, Paul Éluard and Salvador Dalí, to whom she was married at different times.

Her 12-year marriage to Éluard officially ended in divorce in 1929, and she met Dalí that same year. As a sign of the depth of her contribution, Dalí sometimes even signed her name to his works.

Gerber Klein managed to contact several sources who had never spoken to Dalí biographers before, including William Rothlein (who was her lover later in life), her granddaughter Claire Sarti, and famed talk show host Dick Cavett.

The Dalís were so famous that they hired a service to track all media coverage of them, but the wealth of information led some to use it “as they wanted,” leading to “tons of misinformation,” said Gerber Klein, who combed through reams of material for accuracy, including Dalí’s “secret diaries.”

With personal connections to Christian Dior, Coco Chanel, and Elsa Schiaparelli, the couple had an unmistakable style. The fusion of art and fashion is something that Salvador and Gala started and participated in. “She is not Charles James. She did not invent the puffer jacket or the zip dress, but she did invent an attitude toward fashion that still exists today,” said Gerber Klein.

The couple explored “the power of mythical images in forms like Greek art, Christian art, and any guise that has attracted and influenced people for hundreds of years,” added Klein.

He called her “a unique mythological woman of our time.” She cared deeply about art and being part of what was perhaps a very great art. She not only inspired it, but participated in it.

Née Elena Diakonova, she was born in Kazan and raised in Moscow. As a teenager, she met and fell in love with Éluard at the Clavadel sanatorium in Switzerland, where she taught him how to write poetry. At 21, during World War I, she traveled from Russia to Sweden to England and back across the English Channel, which was littered with mines laid by German forces, to reach Paris to be with Éluard.

Together, they became fascinated with Surrealism as a way of life that encompassed art, literature, music, and politics. The couple married in 1917, and Éluard became a prominent French poet.

Gala met Salvador Dalí in 1929 and married him in 1934—but only after Éluard wrote her a letter urging her to tie the knot to avoid a situation in which the artist would inherit nothing if he died.

According to Gerber Klein, Dalí's father said that Salvador would have been living under a bridge somewhere if he had not met Gala.

The Dalís cared so much about their legacy that they built a museum to make sure it was preserved the way they wanted, Klein said.

Although Gala was more outspoken than her more outrageous husband, she could be resourceful, too. Her idea to decorate the window of the Bonwit Teller department store with a naked mannequin covered in green feathers and place it in a fur-lined bathtub did not last long. When the management dressed the mannequin in a suit, Gala begged her husband to do something. After unsuccessfully trying to explain the situation to the guards, he pushed past them and accidentally broke a window. Dalí was jailed, which caused a lot of publicity.

Gala's first husband Éluard wrote: "This is great. You will sell a lot of paintings."

Dalí found common ground with Schiaparelli, who loved to create inventive designs. Together they created such items as a powder compact with an enamel lid that resembled a telephone dial, and a 1937 shoe hat that looked like an upside-down shoe. She was inspired by a photograph of Dalí’s wife wearing a woman’s shoe as a hat.

“From 1935 onwards, there was a threat from Germany, the world was very unstable, and Spain was falling apart and heading towards civil war. It was a period of time when imagination and fantasy were really attractive and fashion had crossed over into art.”

Another example of collaboration was the 1938 Tears dress, named after Dalí, who created the trompe-l’oeil print for the Schiaparelli dress inspired by his paintings. The couple contacted Coco Chanel through Éluard, whose mother was the head of the atelier. “She saw Gala as a promising person and started giving her clothes. She was a kind of influencer, an informal model, wearing Chanel clothes to parties with the cream of society who bought art and in the art world. She gave her clothes and lent them. We can’t find the clothes. When she died, the clothes disappeared. She also had a lot of Chanel jewellery, but no one knows where it is.”

The Dalís stayed also at La Pausa, Chanel’s home in southern France, where the artist worked on a portrait of Gala wearing a Chanel turban in 1938.

A fan of fitted, stylish clothes, Gala later gave designer outfits like Dior a new look by removing pockets and making her own alterations. “She was someone who was on point, but she also inspired the clothes. They were just very chic and a little understated. But the cut was chic enough that you turned your head and noticed her.”

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