Gabrielle "Coco" Chanel

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Type Privately held Industry fashion Founded 1909 / 1910 Founder(s) Gabrielle "Coco" Chanel Paris, France Headquarters 135 Avenue Charles de Gaulle 92521 Neuilly-sur-Seine Cedex Area served Worldwide Alain Wertheimer, co-owner Key people Gerard Wertheimer, co-owner Karl Lagerfeld, head designer haute couture, Perfume, Jewellery, Fashion Products accessory Website www.chanel.com Chanel S.A., commonly known as "Chanel" is a Parisian fashion house founded by the late couturier Gabrielle "Coco" Chanel, recognized as one of the most established in haute couture, specializing in luxury goods (haute couture, ready-to-wear, handbags, perfumery, and cosmetics among others.According to Forbes, the privately held House of Chanel is jointly owned by Alain Wertheimer and Gerard Wertheimer who are the great-grandsons of the early (1924) Chanel partner Pierre Wertheimer. The company has had many high-profile celebrities as spokesmodels, including Catherine Deneuve , Nicole Kidman. Marilyn Monroe brought this perfume to fame through her famous advertisment. BRIEF HISTORY Chanel's designs tended to be simple rather than opulent in look.World War I affected fashion. During World War I, Coco opened a shop on Rue Cambon in front of the Hôtel Ritz Paris.Coco Chanel established her reputation as a meticulous fashion couturier Earnest Beaux created the fragrance for Coco and she named it after her lucky number 5.]The fragrance was a success. Chanel operates over 200 Chanel boutiques worldwide.[5] The locations are found in upscale shopping districts, upscale department stores and malls, and inside major airports.[5] The Chanel flagship store in Ginza on the corner of 3-5-3 Ginza Chuo-ku, Tokyo - 104-0061, and the other three surrounding corners are the home of the Louis Vuitton, Bulgari, and Cartier flagship stores.[8].

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Industry Report Of
The Brands Introduction ➢ Chanel S.A. is a French privately held company owned by Alain Wertheimer and Gérard Wertheimer, grandsons of Pierre Wertheimer, who was an early business partner of the couturière Gabrielle Bonheur Chanel ➢ Chanel S.A. is a high fashion house that specializes only in women's haute couture and ready-to-wear clothes, luxury goods, and fashion accessories ➢ The Chanel product brands have been personified by fashion models and actresses, including Inès de La Fressange, Catherine Deneuve, Carole Bouquet, Vanessa Paradis, Nicole Kidman, Anna Mouglalis, Audrey Tautou, Keira Knightley, Kristen Stewart and Marilyn Monroe ➢ Coco Chanel expanded perfume sales beyond France and Europe and developed other perfumes — for which she required investment capital, business acumen, and access to the North American market ➢ The business deal established the Parfums Chanel company, a parfumerie of which Wertheimer owned 70 per cent, Bader owned 20 per cent, and Chanel owned 10 per cent; commercial success of the joint enterprise was assured by the Chanel name, and by the cachet of la "Maison Chanel", which remained the sole business province of Coco Chanel ➢ In July 2002, a jewelry and watch outlet opened on Madison Avenue. Within months, a 1,000-square-foot (90 m2) shoe/handbag boutique opened next door. Chanel continued to expand in the United States and by December 2002, operated 25 U.S. boutiques ➢ Chanel introduced Coco Mademoiselle and an "In-Between Wear" in 2003, targeting younger women, opened a second shop on Rue Cambon, opened a 2,400 square feet (220 m2) boutique in Hong Kong and paid nearly $50 million USD for a building in Ginza, Tokyo ➢ In 2007, Maureen Chiquet was appointed CEO.
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A Combat for Couture Command of Luxury Labels
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Alexander Wang
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Special Edition Watch
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Selbst Bewusst Sein Icon Oktober 2015 Icon Oktober O
O ICON Oktober 2015 SELBST BEWUSST SEIN ICON OKTOBER 2015 ICON OKTOBER O ARMANI.COM/ATRIBUTE ICON_GER_520X365_25_OTT.indd 2 25/09/15 14:02 O ICON_GER_520X365_25_OTT.indd 3 25/09/15 14:03 O O O DER CHANEL MOMENT DP INSTANT CHANEL 2015_BOY·FRIEND_514x365 Icon ALL.indd Toutes les pages O CHANEL-Kundenservice - Tel. 01801-24 26 35 (3,9 Ct/Min. aus dem Festnetz, max. 42 Mobilfunknetzen). CHANEL-Kundenservice - Tel. www.chanel.com www.chanel.com 01/09/2015 10:04 O Düsseldorf Martin-Luther-Platz 32 0211 135 40 92 Frankfurt Grosse Bockenheimerstr. 13 069 219 96 700 Hamburg Neuer Wall 39 040 430 94 90 München Residenzstrasse 6 089 238 88 50 00 Wien Tuchlauben 8 01 535 30 53 Akris Boutique auf www.akris.ch Inserat_Icon_Okt_FW15_Tiefdruck_V03.indd Alle Seiten O 01.10.15 13:35 O O O AC_GER_Icon_514x365_000_04oct2015_AA.indd Tutte le pagine O 15/07/15 15:38 O O Selbst und bewusst sein ie Chance, dass einem so ein Model beim Spaziergang durchs Herbstlaub begegnet, ist wohl eher gering. Der D Fotograf Richard Avedon hat die Szene für den Pirelli-Kalender 1995 inszeniert. Das Bild stammt aus dem Best-of-Band „50 Jahre und mehr“, den Taschen kürzlich verlegt hat. Wir haben es aus- gewählt, klar, wegen der Laub-Assoziation, aber vor allem, weil Christy Turlington ein Typ ist. Denn das ist doch eine der großen Herausforderungen heute. Eine (elegante) Marke zu sein, eine Identität zu ha- ben, eine Basis, auf der alles andere wächst. Das gilt für Labels wie für Leute. Oder um es mit Tomas Maier von Bottega Veneta zu sagen: „Es geht um mehr als das übliche Branding.
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Master Reference
Master Les paradoxes de la stratégie social media des marques de luxe : entre traditions et développements numériques BOVIER, Morgane Rachel Abstract Ce mémoire tient pour objet l'analyse des stratégies social media que Chanel, Dior et Louis Vuitton ont mises en place sur les réseaux sociaux. L'intérêt réside dans une compréhension de ce qui se joue. En effet, le luxe et le digital sont deux univers qu'au premier abord tout oppose (savoir-faire ancestraux et modernité, stabilité temporelle et mutations constantes, secret et transparence). De plus, le luxe possède un capital social et financier conséquent. Ces trois marques sont connues de tous et possèdent un chiffre d'affaire qui touche au milliard. Donc, quel intérêt ont-elles à être présentes sur les plateformes sociales ? Nous allons démontrer tout au long de ce travail que ces deux univers peuvent s'allier et se compléter faisant ainsi de ces trois Maisons des actrices influentes sur les plateformes sociales. Nous observerons un ralliement de valeurs et une modernisation du luxe. Reference BOVIER, Morgane Rachel. Les paradoxes de la stratégie social media des marques de luxe : entre traditions et développements numériques. Master : Univ. Genève, 2020 Available at: http://archive-ouverte.unige.ch/unige:139782 Disclaimer: layout of this document may differ from the published version. 1 / 1 Les paradoxes de la stratégie social media des marques de luxe : entre traditions et développements numériques Mémoire de Master 2019-2020 Master en Journalisme et Communication Auteur : Morgane Bovier Numéro d’étudiant : 15504962 Date de soumission : Mai 2020 Directeur de mémoire : Professeur Badillo Remerciements J’adresse mes sincères remerciements à toutes les personnes qui ont contribué au bon fonctionnement et au succès de mes études et qui m’ont aidée lors de la rédaction de ce mémoire de Master.
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Magisterarbeit
MAGISTERARBEIT Titel der Magisterarbeit „Die Faszination Chanels! Ihre Darstellung im Film und die Wahrnehmung durch modeinteressierte Menschen“ Verfasserin Angelika Veith, Bakk.phil. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 066 841 Studienrichtung lt. Studienblatt: Publizistik und Kommunikationswissenschaften Betreuer: Univ.-Prof. Dr. Wolfgang Duchkowitsch VORWORT Meine Affinität zur Mode verleitete mich im Sommer 2009, mir Anne Fontaines Kinodrama „Coco Chanel – Der Beginn einer Leidenschaft“ anzusehen. Für die anschließende Reflexion über Coco Chanel stand mir am selben Abend meine Mutter zur Verfügung, die mich begleitet hatte. Im Zuge unseres Gesprächs konstatierte ich ein steigendes Interesse an der Schneiderin und einen für mich noch nicht begründeten Personenkult. Ich war begeistert von der Vorstellung, aus ihrem Nachruf als „Befreierin der Frau aus dem Korsett“ und ihrer zweideutigen Darstellung im Film, die einerseits auf einer selbstbewussten und emanzipierten Frau und andererseits auf einer hart arbeitenden Schneiderin beruht, die Faszination ihrer Person wissenschaftlich zu hinterfragen. Nachdem kurze Zeit darauf ein zweiter Film über Coco Chanel und Igor Stravinsky veröffentlicht wurde, wusste ich, welche Medienanalyse den empirischen Teil meiner Arbeit leiten würde – die Filmanalyse, die mit Unterstützung einer Befragung zum gewünschten Ziel führen soll. Die Betrachtung des zweiten Films und einer Dokumentation gaben den entscheidenden Impuls, mein Vorhaben zu realisieren und meine Arbeit zu titeln. So widmet sich die bevorstehende Masterarbeit der Darstellung von Coco Chanel im Film und ihrer Wahrnehmung durch modeinteressierte Menschen. Obwohl bereits zahlreiche Schriften und etliche Artikel über Coco Chanel existieren ist der Grund, warum uns diese Person so stark im Gedächtnis bleibt, noch relativ unerforscht, was meine Auseinandersetzung mit diesem Themenbereich rechtfertigt.
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Coco Chanel-A Psychobiographical Research Study (200912784
COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujcontent.uj.ac.za/vital/access/manager/Index?site_name=Research%20Output (Accessed: Date). FACULTY OF HUMANITIES DEPARTMENT OF PSYCHOLOGY Coco Chanel: A psychobiographical research study Leandi Verwey Submitted in partial fulfilment of the requirements for the degree Magister Artium in Clinical Psychology in the Faculty of Humanities at the University of Johannesburg Supervisor: Prof Z. G. Knight January 2018 i ACKNOWLEDGEMENTS This achievement is not merely mine, but also of all of those who have ceaselessly supported me throughout this process and the accompanying delays, discouragements and doubts. For this reason, I would like to extend my gratitude to the following persons: § To my supervisor, Prof Zelda Knight. Thank you for your endless help, guidance and patience. Your commitment to this study, and expertise was both comforting and inspiring. I also have to especially thank Dr. Carol Saccaggi, for all your guidance and support too.
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