Trade Mark Decisions (O/223/17)
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Coco Chanel's Comeback Fashions Reflect
CRITICS SCOFFED BUT WOMEN BOUGHT: COCO CHANEL’S COMEBACK FASHIONS REFLECT THE DESIRES OF THE 1950S AMERICAN WOMAN By Christina George The date was February 5, 1954. The time—l2:00 P.M.1 The place—Paris, France. The event—world renowned fashion designer Gabriel “Coco” Cha- nel’s comeback fashion show. Fashion editors, designers, and journalists from England, America and France waited anxiously to document the event.2 With such high anticipation, tickets to her show were hard to come by. Some mem- bers of the audience even sat on the floor.3 Life magazine reported, “Tickets were ripped off reserved seats, and overwhelmingly important fashion maga- zine editors were sent to sit on the stairs.”4 The first to walk out on the runway was a brunette model wearing “a plain navy suit with a box jacket and white blouse with a little bow tie.”5 This first design, and those that followed, disap- 1 Axel Madsen, Chanel: A Woman of her Own(New York: Henry Holt and Company, 1990), 287. 2 Madsen, Chanel: A Woman of her Own, 287; Edmonde Charles-Roux, Chanel: Her Life, her world-and the women behind the legend she herself created, trans. Nancy Amphoux, (New York: Alfred A. Knopf, Inc., 1975), 365. 3 “Chanel a La Page? ‘But No!’” Los Angeles Times, February 6, 1954. 4 “What Chanel Storm is About: She Takes a Chance on a Comeback,” Life, March 1, 1954, 49. 5 “Chanel a La Page? ‘But No!’” 79 the forum pointed onlookers. The next day, newspapers called her fashions outdated. -
Product Placement in Movie Industry
www.pwc.com/it 2012 Product Placement in Movie Industry Strategic Insights & Fashion Apparel Case Studies Agenda Page 1 Product Placement Overview in the Movie Industry 1 2 Product Placement in Movie Industry – Fashion Apparel 10 Case studies Section 1 Product Placement Overview in the Movie Industry PwC 1 Section 1 – Product Placement Overview in the Movie Industry PwC Strategy advises fashion clients in defining their marketing strategies There is a multiplicity of channels/means from which consumers can receive messages • Fashion shows Brand Awareness Seasonal • Media (TV, magazine, etc.) Exhibitions Instruments • • Catalogues • Sponsorships • … Customer Fidelisation • Showrooms • Corporate Magazines Institutional • Testimonials Instruments • … Product Sales increase Placement • Product Placements Emotional • Star Endorsements Lifestyle activities instruments • Global Reach • Shopping experience • … • Web site, social network, blog • Trunk Shows Stimulate a Relational • Word of mouth (co-marketing) Reaction instruments • Events • … PwC 2 Section 1 – Product Placement Overview in the Movie Industry How to reach a captive and involved audience? Product placement is a way of promoting a company or a product by using movies and other types of media to advertise the product or company. Product placements are often established by an agreement between a product manufacturer and the media company, in which the media company receives economic benefit. The Product Visual Placement - the (Placed product or brand) product, service, or logo can -
Teacher's Notes
For readers aged 4+ | 9781847807717 | Hardback | £9.99 Lots of the activities and discussion topics in these teacher’s notes are deliberately left open to encourage pupils to develop independent thinking around the book. This will help pupils build confidence in their ability to problem solve as individuals and also as part of a group. Little People, BIG DREAMS | teacher’s notes notes BIG DREAMS | teacher’s Little People, 1 Little People, BIG DREAMS Teachers’ Notes © 2018 Frances Lincoln Children’s Books. All Rights Reserved. Written by Eva John. www.quartoknows.com The Front Cover What do you think Coco Chanel’s big dream might have been? Do you know anything about Coco Chanel? The Blurb Does the blurb suggest that your idea about Coco’s big dream was correct? Check your understanding of the following words and phrases: • orphanage • cabaret singer • seamstress • fashion designer • style icon If you are not quite sure, you could consult with friends, use a dictionary, or read the book to see if you can work it out for yourself. The Endpapers What effect does looking at the end papers have on you? Why do you think the illustrator decided on this design? This is the story of a young girl called Gabrielle. When she was little, Gabrielle lived in an orphanage. What is an orphanage? Who do you think ran the orphanage? What sort of childhood do you imagine Gabrielle had there? Little People, BIG DREAMS | teacher’s notes notes BIG DREAMS | teacher’s Little People, notes BIG DREAMS | teacher’s Little People, 2 Little People, BIG DREAMS Teachers’ Notes © 2018 Frances Lincoln Children’s Books. -
“The Most Courageous Act Is Still to Think for Yourself. Aloud.” Coco Chanel
COCO CHANEL – MAVERICK TO ICON “The most courageous act is still to think for yourself. Aloud.” Coco Chanel Coco Chanel needs little introduction as a woman whose name has come to be synonymous with classic fashion and effortless style. During her lifetime she became the most famous female couturier in Europe and after her death was listed on the TIME’s 100 Most Influential People of the 20th Century. Few know the story behind the rise of the woman behind the interlocking CC emblem that represents the multibillion-dollar, privately owned luxury goods Chanel empire of today. What can we learn from this pioneering businesswoman that is relevant to this day? Gabrielle Bonheur “Coco” Chanel was born 19th August 1883. Her mother was an unmarried laundry woman. Her father a nomadic street vendor. The couple had five children, including young Coco Chanel, all living in a crowded one-room lodging. When Chanel was just 12 years old, her mother died of tuberculosis. Her brothers were sent to work as farm labourers, and Chanel and her sisters were sent to the convent Aubazine which ran an orphanage in central France. It was in this frugal and austere period of her childhood that Chanel learned to sew, the skill that would make her an international fashion icon. At age 18 Chanel moved to a boarding house for Catholic girls in the town of Moulins. She sought work as a seamstress and in her free time sang in a cabaret bar frequented by cavalry officers. By the time she was 23, Coco had come to realise she would not have a serious stage career. -
Department of Art & Design
Whitburn Academy Department of Art & Design Art & Design Studies Learners Higher: Art & Design Studies Design Analyse the factors influencing designers and design practice by Booklet Fashion 1.1 Describing how designers use a range of design materials, techniques and technology in their work 1.2 Analysing the impact of the designers’ creative choices in a range of design work 1.3 Analysing the impact of social and cultural influences on selected designers and their design practice. A study of Coco Chanel Day dress, ca. 1924 Gabrielle Theater suit, 1938, Gabrielle Evening dress, ca. 1926–27 "Coco" Chanel (French, 1883–1971) "Coco" Chanel (French, 1883– Attributed to Gabrielle "Coco" Wool 1971) Silk Chanel (French, 1883–1971) Silk, metallic threads, sequins What is Fashion Design? Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Modern fashion design is divided into two basic categories: haute couture and ready-to-wear. The haute couture collection is dedicated to certain customers and is custom sized to fit these customers exactly. In order to qualify as a haute couture house, a designer has to be part of the Syndical Chamber for Haute Couture and show a new collection twice a year presenting a minimum of 35 different outfits each time. Ready-to-wear collections are standard sized, not custom made, so they are more suitable for large production runs. They are also split into two categories: designer/creator and confection collections. Designer collections have a higher quality and finish as well as an unique design. They often represent a certain philosophy and are created to make a statement rather than for sale. -
Global Mba with Major in Luxury Brand Management
GLOBAL MBA WITH MAJOR IN LUXURY BRAND MANAGEMENT CV BOOK 2019 24TH ANNIVERSARY YEAR INTERNATIONAL RANKINGS BUSINESS #8 #4 #5 #8 EDUCATION 2018 European Master in Master in Executive Business School Management Finance Education ESSEC Programs BUSINESS SCHOOL, THE PIONEERING SPIRIT Key fi gures CREATED IN 19O7, ESSEC expertise about business in those regions. They allow our school to build BUSINESS SCHOOL TODAY deeper alliances with academic, private IS A WORLD-SCHOOL WITH and public partners in those regions that are growing at an accelerated FRENCH ROOTS. ITS PURPOSE pace and will be leaders of economic growth in tomorrow’s world. ESSEC 55,OOO 6,O97 IS TO GIVE MEANING TO THE has built a network of alliances with graduates worldwide students in full-time undergraduate LEADERSHIP OF TOMORROW academic partners worldwide so and graduate programs that its students’ learning journey AND HAVE A GLOBAL IMPACT. is a true international one. ESSEC is a graduate school with ESSEC is a school with French Roots 4 +1 34% 98 programs ranging from Bachelor that trains responsible leaders. campuses in augmented international nationalities to PhD, a wide range of Masters Being a responsible leader means Cergy, Paris-La Défense, digital students represented programs including our fl agship Master being able to see beyond business Singapore and Rabat campus in Management and Global MBA as usual. Responsible leaders are programs. ESSEC also o ers executive able to value long-term benefi ts education and custom training over short-term profi ts; they are able partner universities designed and developed on-demand to blend corporate performance in 45 countries +1oo for our partners from the private with employees’ well-being. -
Exclusively for Everybody
º SPECIAL REPORT LUXURY DECEMBER 13TH 2014 Exclusively for everybody 20141213_SRluxury.indd 1 02/12/2014 17:18 SPECIAL REPORT LUXURY Exclusively for everybody The modern luxury industry rests on a paradox—but is thriving nonetheless, says Brooke Unger AT THE TRANG TIEN PLAZA shopping mall in Hanoi, Vietnam’s capital, on some evenings a curious spectacle unfolds. Couples in wedding fin- erypose forphotographsin frontofilluminated shop windows, with Sal- vatore Ferragamo, Louis Vuitton and Gucci offering the sort of backdrop for romance more usually provided by the sea or the mountains. The women are not wearing Ferragamo’s ara pumps, with their distinctive bows, or toting uitton’s subtly monogrammed handbags. They cannot ¢ afford them. Tr¡an Cuon, who assembles mobile phones at a Sam- sung factory, posed with his fiancée in a brown suit and bow tie that cost him the equivalent of $150. Some day he hopes to become a customer in the mall. Until then, he will proudly display the photos in his home. To stumble across an out- post of European luxury in a rela- tively poor and nominally social- ist country is not all that sur- prising. Luxuries such as silk have travelled long distances for many centuries, and even modern lux- CONTENTS ury-goods makers have been pur- suing wealth in new places for 3 Definitions more than a century. Georges A rose by many names uitton, son of Louis, the inven- tor of the world’s most famous 3 History Saintly or sinful? luggage, showed off the com- pany’s flat-topped trunks (better 4 The business case for stacking than traditional Beauty and the beasts round-topped ones) at the Chica- go World’s Fair in 1893. -
28Th August 2014
th 1 Published: 28 August 2014 The image that Gabrielle Chanel created has been carried out through her designs for the past 100 years. She has created a timeless brand that is the epitome of good taste, class, quality and luxury. Her image consistently refers to her traditions while still placing the Chanel brand at the peak of contemporary fashion. In June 1998 Gabrielle Chanel was the only fashion designer to be named one of Time magazine’s 100 Most Influential People of the 20th Century. “The clothes she created changed the way women looked and how they looked at themselves. She mixed up the vocabulary of male and female clothes.” Coco Chanel” allowed women to be both feminine and feminist.” (Sischy, 1998) “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street; fashion IMAGE 1: VOGUE PARIS MARCH 1984: INES DE LA FRESSANGE has to do with ideas, the way we live, what is 2 happening.”Coco Chanel said. (Wolfendale, 2011) The image created in her designs by the use of simple styling, particular colors and symbols defines Chanel as a brand as does her unique choice of customized font, her interlocking double “C” logo, the ubiquitous white camellia, quilted handbag, chains and pearls. This image illustrates the story of Gabrielle Chanel’s life. According to the Chanel philosophy, simple understated elegance represents self confidence, success and sophistication. The Chanel image portrays a depth of cultural appreciation of contemporary society. By remaining faithful to the origins and traditions created by Gabrielle Chanel’s story the Chanel brand has continued to demonstrate the timelessness of her values in its contemporary designs. -
Fashion in an Age of Technology
MANUS X MACHINA: FASHION IN AN AGE OF TECHNOLOGY INTRODUCTION The traditional distinction between the haute couture and prêt-à-porter has always been between the custom-made and the ready-made. Haute couture clothes are singular models fitted to the body of a specific individual, while prêt-à-porter garments are produced in multiples for the mass market in standard sizes to fit many body types. Implicit in this difference is the assumption that the handwork techniques involved in the haute couture are superior to the mechanized methods of prêt-à-porter. Over the years, however, each discipline has regularly embraced the practices of the other. Despite the fact that this mutual exchange continues to accelerate, the dichotomy between the hand (manus) and the machine (machina) still characterizes the production processes of the haute couture and prêt-à-porter in the twenty-first century. Instead of presenting the handmade and the machine-made as oppositional, this exhibition suggests a spectrum or continuum of practice, whereby the hand and the machine are equal and mutual protagonists in solving design problems, enhancing design practices, and, ultimately, advancing the future of fashion. It prompts a rethinking of the institutions of the haute couture and prêt-à-porter, especially as the technical separations between the two grow increasingly ambiguous and the quality of designer prêt-à-porter more refined. At the same time, the exhibition questions the cultural and symbolic meanings of the hand-machine dichotomy. Typically, the hand has been identified with exclusivity and individuality as well as with elitism and the cult of personality. -
Notes De Production
COCO BEFORE CHANEL A Film by Anne Fontaine A Sony Pictures Classics Release Starring Audrey Tautou Alessandro Nivola Benoit Poelvoorde Emmanuelle Devos Marie Gillain Release Date: 9/25, Runtime: 110 Minutes Rating: PG-13 East Coast Publicity West Coast Publicity Distributor Falco Ink. Block Korenbrot Sony Pictures Classics Janice Roland Melody Korenbrot Carmelo Pirrone Erin Bruce Judy Chang Lindsay Macik Annie McDonough 110 S. Fairfax Ave, #310 550 Madison Ave 850 7th Avenue, Suite 1005 Los Angeles, CA 90036 New York, NY 10022 New York, NY 10019 323-634-7001 tel 212-833-8833 tel 212-445-7100 tel 323-634-7030 fax 212-833-8844 fax 212-445-0623 fax 1 A little girl who is sent with her sister to an orphanage in the heart of France, who waits in vain every Sunday for her father to come for her… A cabaret performer with a weak voice who sings to an audience of drunken soldiers… A humble seamstress, who stitches hems at the back of a provincial tailor's shop… A young, skinny courtesan, to whom protector Etienne Balsan offers a safe haven, amongst the idle and decadent… A woman in love who knows she will never be anyone’s wife, refusing marriage even to Boy Capel, the man who returned her love… A rebel who finds the conventions of her time oppressive, and instead dresses in her lovers' clothes… This is the story of Gabrielle “Coco” Chanel, who begins her life as a headstrong orphan, and through an extraordinary journey becomes the legendary couturier who embodied the modern woman and became a timeless symbol of success, freedom and style. -
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 -
DP COCO ANGL:Mise En Page 1
CLAUDIE OSSARD, CHRIS BOLZLI and VERONIKA ZONABEND present MADS MIKKELSEN ANNA MOUGLALIS Afilm by INTERNATIONAL SALES Wild Bunch JAN KOUNEN Cannes office: 4 La Croisette - 2nd floor With ELENA MOROZOVA - NATACHA LINDINGER - GRIGORI MANOUKOV CAROLE BARATON +33 6 20 36 77 72 ANATOLE TAUBMAN - NICOLAS VAUDE [email protected] LAURENT BAUDENS Screenplay by +33 6 70 79 05 17 CHRIS GREENHALGH [email protected] Adapted by VINCENT MARAVAL +33 6 11 91 23 93 CARLO DE BOUTINY et JAN KOUNEN [email protected] Adapted from the novel Coco & Igor by CHRIS GREENHALGH GAEL NOUAILLE +33 6 21 23 04 72 [email protected] SILVIA SIMONUTTI A EUROWIDE FILM PRODUCTION +33 6 20 74 95 08 In association with HEXAGON PICTURES [email protected] In partnership with CANAL+ and TPS STAR www.wildbunch.biz and WILD BUNCH With the support of REGION ILE-DE-FRANCE INTERNATIONAL PRESS CHARLES MCDONALD In association with CINEMAGE 3 Cannes office: c /o Premier PR Villa Ste Hélène 45, Bd d’Alsace Running time : 1h55/Scope/Dolby SRD 06400 Cannes Office Tel.: +33 (0)4 97 06 30 61 [email protected] 4 COCO CHANEL & IGOR STRAVINSKY PARIS 1913 At the Theatre Des Champs-Elysées, Igor Stravinsky premieres his The Rite Of Spring. Coco Chanel attends the premiere and is mesmerised… But the revolutionary work is too modern, too radical: the enraged audience boos and jeers. A near riot ensues. Stravinsky is inconsolable. Seven years later, now rich, respected and successful, Coco Canel meets Stravinsky again - a penniless refugee living in exile in Paris after the Russian Revolution.