Gabrielle "Coco" Chanel

Total Page：16

File Type：pdf, Size：1020Kb

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].

Copy Link

Recommended publications

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.
[Show full text]
Les Métiers D'art, D'excellence Et Du Luxe Et Les Savoir-Faire Traditionnels : L'avenir Entre Nos Mains
Les métiers d'art, d'excellence et du luxe et les savoir-faire traditionnels : L'avenir entre nos mains Rapport à Monsieur le Premier ministre de Madame Catherine DUMAS, Sénatrice de Paris Septembre 2009 Sommaire Introduction ______________________________________________________________ 1 20 propositions pour une nouvelle dynamique en faveur des métiers d’art __________ 3 I. Dans leur diversité, les métiers d’art constituent un atout certain pour la France ______________________________________________________________ 5 A. Une hétérogénéité à maîtriser pour plus de visibilité________________________ 5 1. Les définitions existantes, un point de départ très utile ______________________ 5 a) Les trois critères des métiers d’art_____________________________________ 5 b) La nomenclature officielle___________________________________________ 5 2. Une diversité qui rend leur délimitation complexe __________________________ 5 a) Description n’est pas définition_______________________________________ 5 b) Les trois grandes familles d’activités __________________________________ 6 (1) Les métiers de tradition_________________________________________ 6 (2) Les métiers de restauration ______________________________________ 6 (3) Les métiers de création _________________________________________ 7 3. Une définition plus précise et plus complète pour mieux saisir le réel___________ 8 a) Préciser les critères ________________________________________________ 8 b) Compléter la liste des activités _______________________________________ 9 B. Une place toute
[Show full text]
A Combat for Couture Command of Luxury Labels
DePaul Journal of Art, Technology & Intellectual Property Law Volume 24 Issue 1 Fall 2013 Article 3 Human v. House: A Combat for Couture Command of Luxury Labels Carly Elizabeth Souther Follow this and additional works at: https://via.library.depaul.edu/jatip Recommended Citation Carly E. Souther, Human v. House: A Combat for Couture Command of Luxury Labels, 24 DePaul J. Art, Tech. & Intell. Prop. L. 49 (2013) Available at: https://via.library.depaul.edu/jatip/vol24/iss1/3 This Lead Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact digitalservices@depaul.edu. Souther: Human v. House: A Combat for Couture Command of Luxury Labels HUMAN V. HOUSE: A COMBAT FOR COUTURE COMMAND OF LUXURY LABELS Carly Elizabeth Souther* ABSTRACT As an industry that thrives on-rather than succumbs to- adversity, the couture corporate world demands innovation and encourages risks. When combined with successful marketing and savvy business practices, these risks can result in large payoffs, which exist, primarily, due to the nature of the global fashion market.' Endless consumption drives the market, rewarding fashion houses that cater to current trends with top-line growth and damning those whom fail to suffer decreased net earnings. In order to remain a viable player in the fashion industry, the house must have the resources to market and manufacture the product in a timely manner, as well as incur the costs if a collection is poorly received.
[Show full text]
King George VI & Queen Elizabeth Stakes (Sponsored by QIPCO)
King George VI & Queen Elizabeth Stakes (Sponsored by QIPCO) Ascot Racecourse Background Information for the 65th Running Saturday, July 25, 2015 Winners of the Investec Derby going on to the King George VI & Queen Elizabeth Stakes (Sponsored by QIPCO) Unbeaten Golden Horn, whose victories this year include the Investec Derby and the Coral-Eclipse, will try to become the 14th Derby winner to go on to success in Ascot’s midsummer highlight, the Group One King George VI & Queen Elizabeth Stakes (Sponsored by QIPCO), in the same year and the first since Galileo in 2001. Britain's premier all-aged 12-furlong contest, worth a boosted £1.215 million this year, takes place at 3.50pm on Saturday, July 25. Golden Horn extended his perfect record to five races on July 4 in the 10-furlong Group One Coral- Eclipse at Sandown Park, beating older opponents for the first time in great style. The three-year-old Cape Cross colt, owned by breeder Anthony Oppenheimer and trained by John Gosden in Newmarket, captured Britain's premier Classic, the Investec Derby, over 12 furlongs at Epsom Downs impressively on June 6 after being supplemented following a runaway Betfred Dante Stakes success at York in May. If successful at Ascot on July 25, Golden Horn would also become the fourth horse capture the Derby, Eclipse and King George in the same year. ËËË Three horses have completed the Derby/Eclipse/King George treble in the same year - Nashwan (1989), Mill Reef (1971) and Tulyar (1952). ËËË The 2001 King George VI & Queen Elizabeth Stakes saw Galileo become the first Derby winner at Epsom Downs to win the Ascot contest since Lammtarra in 1995.
[Show full text]
Alexander Wang
Fashion. Beauty. Business. APRIL 2015 No.1 Alexander Wang The Six Who will build the powerhouse brands US $9.99 JAPAN ¥1500 of tomorrow? CANADA $13 CHINA ¥80 UK £ 8 HONG KONG HK100 A look at six of the EUROPE € 11 INDIA 800 industry’s best bets. Fashion. Beauty. Business. APRIL 2015 No.1 The Row The Six Who will build the powerhouse brands US $9.99 JAPAN ¥1500 of tomorrow? CANADA $13 CHINA ¥80 UK £ 8 HONG KONG HK100 A look at six of the EUROPE € 11 INDIA 800 industry’s best bets. Christopher Kane J.W. Anderson Introducing the ricky drawstring 888.475.7674 ralphlauren.com The Ricky Sunglass ARMANI.COM/ATRIBUTE 800.929.Dior (3467) Dior.com © 2015 Estée Lauder Inc. © 2015 DRIVEN BY DESIRE esteelauder.com NEW. PURE COLOR ENVY SHINE On Carolyn: Empowered Sculpt. Hydrate. Illuminate. NEW ORIGINAL HIGH-IMPACT CREME AND NEW SHINE FINISH Contents Fashion. Beauty. Business. Fashion. Beauty. Business. Fashion. Beauty. Business. Alexander J.W. Wang The Row Anderson Fashion. Beauty. Business. Fashion. Beauty. Business. Fashion. Beauty. Business. Chitose Christopher Proenza Abe Kane Schouler Six Covers Photographer Nigel Parry shot the designers for the cover story during a whirlwind global tour. “To be asked to photograph the covers for the launch of the new WWD weekly is a gift to any photographer,” he said. “I’m not saying it was easy — eight designers, six days, three continents — but the jet-lag was kept at bay by meeting such great talents. Thank you WWD!” Cover Story The 168 Fashion has long been obsessed with the new, the fresh, the unexpected, never more so than now.
[Show full text]
Special Edition Watch
SPECIAL EDITION Fashion. Beauty. Business. PARISOCTOBER 5, 2016 The Collections RoboParis Chic Talk about wearable tech. Karl Lagerfeld took inspiration from computer wires and digital graphics for his kinetic Chanel show, which played the cyber motif against delicate lingerie pieces, the fusion called “Intimate Technology.” For more on Chanel and the Paris collections, see pages 6 to 9. Photograph by Giovanni Giannoni Giovanni by Photograph WE ARE BOLD WE ARE INNOVATORS WE ARE www.tefron.com OCTOBER 5, 2016 3 MEN’S TOP 5 O’Shea Exit Spurs Questions TRENDING About Direction of Brioni ON WWD.COM ● The creative director joined Justin O’Shea “disconnected and inconsistent with the men’s wear firm in March. the identity of the brand. Kering has realized it is necessary to reflect on the BY LUISA ZARGANI WITH CONTRIBUTIONS brand, work on a drastic repositioning FroM JEAN E. PALMIERI operation.” He also observed that O’Shea believed MILAN — Will Brioni be able to get back Brioni was a fashion brand and Pesci on track? admitted it was so in the Fifties and That was the question being asked fol- Sixties, “but not after that. For 40 years, lowing the abrupt departure Tuesday of from the Seventies onward, it was a the venerable Italian men’s wear brand’s men’s ready-to-wear luxury brand, creative director, Justin O’Shea, after hinging on craftsmanship, quality and only six months in an experiment that exclusive materials. You can’t modify 40 clearly didn’t work. years of history.” The company said “the strategy of Another industry observer said “this revitalization of Brioni that started at the is a dangerous situation for Brioni.
[Show full text]
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.
[Show full text]
Different Types of Denim Fabric
Different Types of Denim Fabric Contributor By Shelley Moore, eHow Contributing Writer Article Rating: (3 Ratings) • • • • Add to Favorites • • Denim clothing never goes out of style. It's attractive and durable, perfect for most casual occasions. Denim is most common as the fabric in jeans, but is also used for shirts, jackets, skirts, dresses, hats, handbags and more. Several different types of denim fabric are available depending on the function and look people are after. Cotton Serge 1. The traditional denim is 100 percent cotton serge. Additionally, denim is often blended with other fabrics. Raw Denim 2. Raw denim is dark, unwashed fabric that is stiff and very durable. It fades with wear in certain areas, creating a natural distressed look. It also fades with washing. Selvage Denim 3. The premium type of raw denim fabric is selvage denim, with tight weaving and natural edges that will not unravel. Selvage denim is more expensive than other raw denim. Stretch Denim 4. The blend closest to pure denim is called stretch denim, which usually includes 2 or 3 percent Spandex material for a bit of give in the fabric. Poly-Denim 5. Poly-denim blends look like a dressier denim, and are more lightweight, which makes them more convenient to wash and dry. They also are more resistant to wrinkling. Ramie-Denim 6. Denim is also sometimes blended with the plant fiber ramie, which reduces wrinkling and gives the fabric a softer feel. Ads by Google Geogrid Manufactory Shenzhou Geosynthetics offers all kinds of superior Geogrids www.geogrid-cn.net
[Show full text]
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.
[Show full text]
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.
[Show full text]
Storytelling As a Marketing Tool. Case Study: Chanel
Irina Guseva Storytelling as a marketing tool. Case Study: Chanel Case Chane Metropolia University of Applied Sciences Bachelor of Business Administration International Business and logistics Bachelor’s Thesis Date 30 April 2021 Abstract Author Irina Guseva Title Storytelling as a marketing tool: case Chanel. Number of Pages 57 pages + 2 appendices Date 30 April 2021 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor/Tutor John Greene, Lecturer The purpose of this study was to indicate how storytelling influences consumers of the luxury brand Chanel. Storytelling is a marketing tool that tells the story about the brand in order to attract and retain customers, enhance brand awareness and consumer loyalty. Chanel is a luxury fashion brand established in 1910 in France by the creator and founder of the company Gabrielle Chanel. She has had a tremendous impact on the fashion world, providing revolutionary ideas and liberating women. Her creations were fresh, bold, unusual and very successful. The marketing and brand have been constructed around her life and creative endeavours. This study identified how the brand is able to convey a brand’s message and brand’s values through storytelling and how consumers of the brand perceive the brand’s message and the brand itself. Qualitative research methodology was mainly utilised for this study consisting of 3 semi- structured interviews, in English and Russian. The participants of the interviews are keen followers of fashion and are Chanel brand consumers. The secondary data was represented by a review of the scientific articles, articles about Chanel, Youtube and Instagram images and fashion videos.
[Show full text]
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.
[Show full text]