The Fashion Design Of Chanel

The 18th century, more precisely between 1715 and 1789, was a significant time period in the fashion sphere for women in France. The time period itself was a mark of great change for the history of France due to various political reasons as well as various art movements and often times fashion, despite being a branch of art, is overlooked by most viewers. However, fashion during this time excelled in France and was essentially the symbol of a new era in this domain; French fashion was now snowballing into something much greater that still echoes to this today. Ultimately, the goal of this essay is to describe women’s fashion during the period of 1715-1789 and the shifts it made through the analytical use of various sources including artwork, literature, museums’ online archives and internet sources.

Consumers, who cannot afford a Chanel bag, can purchase Chanel perfume to satisfy their vanity. Moreover, Jo Malone is a brand with particular features, in other words, there might be some copy-cats appear to confuse consumers and damage Jo Malone’s brand image.

Chanel is one of the most prominent fashion brands, their cosmetic line is one that follows the brands positioning in the market, due to this it associated with being high end and luxury. This positioning has been influenced by the associations that consumers make between the brand and the founder Coco Chanel as well as drawing associations from haute-couture fashion as well as aligning the brand with the likes of the fashion scene (Chanel 2013). This brand has been positioned to exude luxury, perfection and quality and with associated high prices and simplistic but sophisticated packaging this has enabled the brand to be positioned as a high-end luxury brand (Chanel 2013).

A. Chanel No. 5 is one of the most prestigious scents in the world (J. Baughman (Ed.), 2001)

After the War Chanel returned to Paris in 1953 to find that Parisian women were obsessed with Christian Dior and the “New Look”, which is a very feminine

Many great fashion designers have entered the market of fragrance (Chanel, Lanvin, Givenchy, Yves Saint‐Laurent, Balenciaga …). After that, the speakers of the cosmetic market launched their own perfumes (Yves Saint Laurent, Estee Lauder) and finally, the family brands made their entry on the market (L’Oreal, Procter & Gamble, Unilever…). These

Los Angeles-based perfumer Lisa Hoffman embraces every facet of life into her creative process, from the everyday to the adventurous. With a rich background in fragrance—including education in Grasse, France with the world's most esteemed perfumers—she has seamlessly assimilated traditional fine fragrance into the lifestyle of the contemporary woman to create a brand that's unique and wearable. Each scent in Lisa’s diverse fragrance line has been crafted to capture the essence of her favorite destinations from around the world to effortlessly transport women to places filled with beauty and tranquility.

Fast forward to Chanel’s young adult life, and you can see it wasn’t long off that she would set up shop in Paris, France in 1910, eventually expanding out to Deauville, and then Biarritz. She had started off with designing, and marketing hats which became a very successful hit amongst the fashionistas of that day. Chanel’s empire was growing exponentially, and in 1920 she expanded into the realms of couture now working in jersey which at the time was unheard of in the French fashion circle. Soon she was blurring the lines of what was acceptable, setting fashion trends instead of adhering to the routine, and was giving way to entire style genres such as the “chemise” and the “little boy” look. Her fashion statements were a gigantic contrast to what was socially acceptable, and of course Chanel fell under scrutiny over it, but she went on to create more casual, shorter, and idyllically “liberating” clothing for the day’s modern woman. In essence she was liberating women from the stuffy, confining fashions that they were used to, and giving way to a loose more relaxed style all together while maintaining it’s inherent feminine charm. Chanel was creating more than just a design, or an article of clothing, she was creating a movement that would change the way society viewed fashion in it’s entirety. (Lewis)

For my own artist paper, I chose to study the French fashion house, Christian Dior SE. During the past seven decades, Christian Dior has transformed its brand from just another high end fashion house into a name synonymous with wealth, sophistication, power, dignity, and prestige. Christian Dior stands in a league of its own in our culture. It’s a mega brand with major influence over fashion and business. Instead of spending hours hunting down financial records and hiring practices for a smaller house, Christian Dior appealed to me because of their long history, easily accessible records, and publicly traded status meaning they would have long reports outlining all the companies numbers for a given year. Christian Dior is also the majority owner of the luxury holdings company LVMH, with a 40.9% controlling share and 100% ownership of Christian Dior Couture (CITATION).

It wasn’t until Chanel started to create jackets which not only had the purpose of being worn closed, she created jackets that looked good opened, closed or hanging over the shoulders. She emphasized on this style by making blouses to serve the complete outfit. She was also the creator of the “Little Black Dress”, which was a relatively simple black dress made by elegant materials such as lace, tulle, weightless silk and even embroidery in a new, more tailored way. Chanel is today world known for its high quality designs and has women of the 21th century dependent on its classical style (Rennolds Milbank 120-121).

Since similar standards for beauty have been created by advertisements have been around for so long, women do not know they have been manipulated and now accept them as true. Because of this, this advertisement’s portrayal of a “beautiful” woman is an effective strategy to convince women to buy the Be Delicious perfume.

This essay will be addressing ideologies of consumer fetishism and pseudo-individuality through examining the commodity signs found in the mass marketing and advertising of designer cosmetics, particularly Chanel.

Perfume’s mid-18th century setting boasts a religious presence through the Kingship rights employed by Roman Catholic Church doctrines, that was gradually diminishing due to an Age of Enlightenment paradigm-shift and an introduction of humanistic and nihilistic views from the French Revolution. In past and present-days, perfume has been a symbol of religion and divine transcendence. Incense is often depicted as a transcendent connection to God in the form of smoke and scent,

This essay will be considering the historical development of haute couture by analysing Charles Frederick Worth’s (father of haute couture) key factors in the success of haute Couture. I will then discuss Coco Chanel’s thriving impact on haute couture as well as ready-to-wear caused by the second world war. Saint Laurent’s drift to ready-to-wear and the high street fashion system will also be discussed in order to answer if haute couture is relevant in fashion today. The books I will be analysing and referencing are ‘A Cultural History of Fashion in the 20th Century’ by Bonnie English, ‘Couture’ by Ruth Lynam, ‘How Fashion Works’ by Gavin Waddell. Which will thoroughly breakdown the evolution and historical development of fashion by cultural, economic, environmental and social changes to finally come into a conclusion.

Cacharel fragrance brand was acquired by the L’Oreal group in 1975 (Insead, 2007). L’Oreal is known as a house of diverse corporate and umbrella brands, namely just a few: L’Oreal Paris, Lancome, Cacharel, Giogio Armani, Ralph Lauren and many others. Each of these umbrella brands has below it numerous products brands and line brands. They constitute so-called a multi-brand matrix (Marketing Mastermind, 2008). Cacharel umbrella brand belongs to the Luxury Products Division, one of three divisions of the L’Oreal group, which offers up-market premium products to consumers. Every umbrella brand has established distinct identity, image to focus on different target market, in turn; the Cacharel umbrella itself is perceived as an encompassing combination of prestige, femininity, charm and romanticism. (Kepferer, chapter 11, p292). As a result, Anais Anais was the most responsible for creating Cacharel’s identity by its extraordinary succeed. In the shoes of Katsachnias, we have been encoding the Cacharel brand identity in some extends, whether it helps to revitalize the brand at its crisis? We continuously perceive this insight in the next question.