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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. She remained CEO until her termination in 2016. Nick Hochland succeeded Chiquet as CEO S W Strength Weaknesses ➢ Brand Value: It is well established and popular brand. Its brand value is ➢ Market Growth: Chanel is competing with many other premium brands currently valued at $7.2 billion. It ranks 80th on the world’s most which means limited market growth. It is competing with Louis Vuitton, valuable brand. Its sales reach around $5.2 billion. It is a highly Dior, Prada, Gucci, Versace, Hermès and H&M. Being a premium established brand worldwide since many years. segment gives a very little room for expansion. The segment is almost saturated. ➢ Revenue: Chanel posted a very high revenue based on its brand value. It was beaten only by H&M and trumped the likes of Louis Vuitton and ➢ Brand Value: Although Chanel is at a healthy 80th rank in the world it Hermès. still needs to do a lot in order to become the leader in the premium segment. ➢ Style: It is known for its comfortable and functional clothes with the perfect style. Classic and timeless designs make a major part of their ➢ Perceptual Mapping: On the perceptual maps Chanel loses to Hermès collection. when it comes to exclusivity when exclusivity is the prime focus of the brand..

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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 [email protected]. 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.
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Alexander Wang
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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.
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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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Different Types of Denim Fabric
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Master Reference
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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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Storytelling As a Marketing Tool. Case Study: Chanel
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Gabrielle "Coco" Chanel
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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TFG-N.813.Pdf
UNIVERSIDAD DE VALLADOLID FACULTAD DE CIENCIAS SOCIALES JURÍDICAS Y DE LA COMUNICACIÓN GRADO EN PUBLICIDAD Y RELACIONES PÚBLICAS CURSO 2017-2018 ANÁLISIS DE LA EVOLUCIÓN DE LA IMAGEN DE LA MUJER EN LA PUBLICIDAD GRÁFICA Y AUDIOVISUAL DE CHANEL Nº5 (Línea 1.Disertación) CARLA GÓMEZ GONZÁLEZ Tutora: Rosario Sampedro Gallego SEGOVIA, 1 MARZO 2018 Resumen En este TFG se ha realizado un estudio de la imagen de la mujer que transmite la marca de moda Chanel en su producto Chanel Nº5 con intención de averiguar si en su publicidad pueden verse reflejadas las inquietudes que caracterizaron a la segunda y tercera ola del movimiento feminista. Para ello se ha realizado un análisis de contenido de una muestra de 62 gráficas de la publicidad de dicho producto que abarcan un amplio periodo de tiempo (de 1921 a 2016) y un análisis más cualitativo de 3 anuncios audiovisuales aplicando un modelo de análisis de la narrativa publicitaria audiovisual. La conclusión es que la publicidad de Chanel nº 5 responde más bien a un modelo intemporal de feminidad que con todo refleja el espíritu feminista de la fundadora de la marca, Coco Chanel. Abstract In this TFG the image of the women in the advertising of Chanel Nº5 perfume has been analyzed with the intention to discover if the issues the second and third waves of feminism arise are reflected in its advertising. In order to do that, a content analysis has been made on a collection of 62 advertisements from a wide period of time (from 1921 to 2016). 3 audiovisual advertisements have been also analyzed in a qualitative way, using an audiovisual narrative analysis model.
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Coco Chanel Recunoscuta Ca Una Din Cele Mai "Chic" Designere Ale Secolului XX
Casa de moda Chanel Chanel este poate cea mai celebra casa de moda din Franta, care si-a luat numele de la creatoarea de moda si fondatoarea ei, Coco Chanel recunoscuta ca una din cele mai "chic" designere ale secolului XX. Numele Chanel nu poate fi ignorat de nimeni din lumea modei de azi, care nu ar fi fost la fel fara creatiile acestei artiste vestimentare care si-a creat un imperiu pornind de la pasiunea ei pentru frumos. Coco Chanel a reusit sa realizeze haine practice, mica rochie neagra, jachetele care poarta si astazi amprenta sa sau jerseul din lana, confortabil si usor de purtat, chiar daca era considerat initial prea simplu pentru a se potrivi unei vestimentatii elegante. Dar, sa incepem cu inceputul .... In spatele cunoscutelor genti Chanel se afla o legenda. Numita una dintre cele 100 de persoane care au influentat moda secolului 20, Coco Chanel a fost un pionier al modei. Stilul ei a fost inspirat de piesele vestimentare barbatesti si credeam in outfituri simple dar foarte scumpe. Iata cateva lucruri despre ea: 1. Iubea buzunarele Coco Chanel era asa de incantat de buzunare incat acest lucru a devenit principalul punct in crearea posetelor. Multe si extrem de folositoare ... buzunare. 2. Totul a inceput ca un hobby Chanel si-a inceput cariera realizand palarii care au devenit foarte populare printre aritocratii parizieni. Prin palariile ei fancy si inovatoare a atras atentia asupra ei. Poate e timpul ca tu sa-ti transformi hobby-ul intr-o cariera. 3. De la vanzatoare de lenjerie de dama la o casa mare de moda Stiai ca inainte de a deveni o legenda, Coco Chanel a lucrat ca vanzatoare intr-un magazine de lenjerie de dama? Intr-adevar legendele pornesc de jos.
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Le Cas De Chanel Generation Y and Marketing of Luxury Brands in Fashion Industry – Example of Chanel (Mémoire De Master)
Université Palacký d'Olomouc Faculté des lettres Département des études romanes Génération Y et marketing de mode des marques de prêt-à-porter dans l’industrie de mode – Le cas de Chanel Generation Y and marketing of luxury brands in fashion industry – Example of Chanel (Mémoire de master) Bc. Darina Ujová Directeur de recherche : doc. Mgr. Jaromír Kadlec, Dr. Olomouc 2019 Déclaration Je, soussignée, Bc. Darina Ujová, atteste que mon mémoire de master « Génération Y et marketing de mode des marques de prêt-à-porter dans l’industrie de mode – Le cas de Chanel » est le résultat de mon propre travail et que toutes les sources bibliographiques utilisées y sont citées. A Olomouc, aôut 2019 Signature …………………… Remerciement Je tiens à remercier toutes les personnes qui ont contribué à la réalisation de mon mémoire de master. Principalement, j'adresse mes remerciements à mon directeur de mémoire, Monsieur doc. Mgr. Jaromír Kadlec, Dr. Je voudrais aussi remercier à Monsieur Mgr. Geoffroy Yrieix Bletton et à Monsieur Patrick Ralet pour leur aide professionnelle et conseils. Table de matières Introduction 5 1 Le luxe 7 1.1 Le luxe et sa définition 7 1.2 Le produit de luxe 8 1.3 La marque de luxe 10 1.3.1 Les marques de luxe selon le niveau de luxe 11 1.3.2 Les marques de luxe selon la notoriété 12 1.4 Le luxe dans l’industrie vestimentaire 15 1.4.1 Le marché actuel dans l’industrie de mode de luxe 18 2 Marketing de la mode ou marketing de mode 23 2.1 Qu’est-ce que c’est marketing de mode 23 2.2 Marketing de mode de luxe 24 3 Génération Y 34 3.1 La
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