世界十二大女装概述

1、Well-Knowen Womens Brand Of the WorldGabrielle ChanelChristian DiorGivenchyYves Saint LaurentValentionVersaceGiorgio ArmaniWomreKenzoCalvin KleinDonna KaranFLRS1Gabrielle Chanel注册地：PARES,FRANCE（1913年) 公司地址： 135, Avenue Charles de Gaulle Paris, France 92200 33-8-00-31-28-59 设计师： 1913-1971 Gabrielle C

2、hanel （加布里埃香奈儿） 1978 - 1983 Philippe Guibourge 1978 - 1983 Jean Cazaubon 1978 - 1983 Yvonne Dudel 1983-至今 Karl Largerfeld（卡尔拉格斐尔德） 2Design concept:Elegant,Simple,Exquisite 设计理念: 高雅、简约、精美 3Early LifeChanel was born to an unwed mother, Jeanne Devolle, a laundrywoman, in a facility for the indigent in

3、Saumur, France. This was Devolles second daughter. The father, Albert Chanel was an itinerant street peddler who with horse and cart lived a nomadic life, traveling to and from market towns, the family residing in rundown lodgings. He married Jeanne Devolle several years after Chanel was born. At bi

4、rth Chanels name was entered into the official registry as “Chasnel.” It is speculated that this spelling was a clerical error or an ancient spelling of the family name.3 The couple eventually had five other children: Julia-Berthe, (18821913), Antoinette (born 1887) and three brothers, Alphonse (bor

5、n 1885), Lucien (born 1889) and Augustin (born and died 1891).In 1895, when she was twelve years old, Chanels mother died of tuberculosis. Her father sent her two brothers out as farm laborers and the three daughters to a bleak area of central France, the Corrze, into the hands of a convent for orph

6、ans, Aubazine.4 It was a stark, frugal life demanding strict discipline and the rigorous indoctrination of the Catholic faith. At age eighteen, Chanel, now too old to remain at Aubazine, went to live in a boarding house set aside for Catholic girls in the town of Moulins.54Having learned the sewing

7、arts during her six years at Aubazine, Chanel was able to find employment as a seamstress. When not plying her trade with a needle, she sang in a cabaret frequented by cavalry officers. It was at this time that Gabrielle acquired the name “Coco,” a name possibly derived from a popular song she sang,

8、 or an allusion to the French word for kept woman: cocotte.5 As cafe entertainer, Chanel broadcast a juvenile allure and suggestion of a mysterious androgyny, tantalizing the military habitus of the cabaret.5Later in life, she concocted an elaborate, fabricated history to cover up her humble beginni

9、ngs with a more compelling light. Of the various stories told about Coco Chanel, a great number were of her own invention. These legends were to be the undoing of the earliest of her biographies. These were ghosted memoirs commissioned by Chanel herself, but never published, always aborted before fr

10、uition, as she realized that the facts exposed a personage less laudatory than the mythic Chanel she had self-invented. Chanel would steadfastly claim that when her mother died, her father sailed for America to seek his fortune and she was sent to live with two cold-hearted spinster aunts. She even

11、claimed to have been born in 1893 as opposed to 1883, and that her mother had died when Coco was six instead of twelve.65Personal Life And Early CareerIt was at Moulins that Chanel met a young, French, ex-cavalry officer, and wealthy textile heir tienne Balsan. At age twenty-three, Chanel became Bal

12、sans mistress and for the next three years lived with him in his chateau Royallieu near Compigne, an area known for its wooded equestrian paths and the hunting life.7 It was a life style of self-indulgence, Balsans wealth and leisure allowing the cultivation of a social set who reveled in partying a

13、nd the gratification of human appetites with all the implied accompanying decadence. Balsan lavished Chanel with the beauties of the rich life diamonds, dresses, and pearls. It was while living with Balsan that Chanel began designing hats, initially as a diversion that evolved into a commercial ente

14、rprise. Biographer Justine Picardie, in her 2010 study Coco Chanel: The Legend and the Life (Harper Collins), suggests that the fashion designers nephew, Andr Palasse, supposedly the only child of her sister Julia- Berthe who had committed suicide, actually was Chanels child by Balsan.6In 1908 Chane

15、l began an affair with one of Balsans friends, Captain Arthur Edward Boy Capel.8 In later years Chanel reminisced of this time in her life: “two gentlemen were outbidding for my hot little body.” 9 Capel, a wealthy member of the English upper-class, installed Chanel in an apartment in Paris 10 and f

16、inanced Chanels first shops. It is said Capels own sartorial style influenced the conception of the Chanel look. The bottle design for Chanel No. 5 had two probable origins, both attributable to the sophisticated design sensibilities of Capel. It is believed Chanel adapted the rectangular, beveled l

17、ines of the Charvet toilery bottles he carried in his leather traveling case 11 or it was the design of the whiskey decanter Capel used, and Chanel so admired that she wished to reproduce it in “exquisite, expensive, delicate glass.” 12 The couple spent time together at fashionable resorts such as D

18、eauville, but he was never faithful to Chanel.13 The affair lasted nine years, but even after Capel married an aristocratic English beauty in 1918, he did not completely break off with Chanel. His death in a car accident, in late 1919, was the single most devastating event in Chanels life.14 She com

19、missioned the placement of a roadside memorial at the site of the accident, which she visited in later years to lay flowers in remembrance.15 Twenty-five years after the event, Chanel then residing in Switzerland, confided to her friend Paul Morand: His death was a terrible blow to me. In losing Cap

20、el, I lost everything. What followed was not a life of happiness I have to say. 167Chanel became a licensed modiste (hat maker) in 1910 and opened a boutique at 21 rue Cambon, Paris named Chanel Modes.17 Chanels modiste career bloomed once theatre actress Gabrielle Dorziat modelled her hats in the F

21、 Nozieres play Bel Ami in 1912 (Subsequently, Dorziat modelled her hats again in Les Modes).17 In 1913, she established a boutique in Deauville, where she introduced luxe casual clothes that were suitable for leisure and sport.17 Chanel launched her career as fashion designer when she opened her nex

22、t boutique, titled Chanel-Biarritz, in 1915,17 catering to the wealthy Spanish clientele who holidayed in Biarritz and were less affected by the war.18 Fashionable like Deauville, Chanel created loose casual clothes made out of jersey, a material typically used for mens underwear.17 By 1919, Chanel

23、was registered as a couturiere and established her maison de couture at 31 rue Cambon.17 Coco Chanel, 1920.In 1920, she was introduced by ballet impresario Sergei Diaghilev to Igor Stravinsky. Now a notable patron of the arts, Chanel guaranteed the production of the ballet Le Sacre du Printemps (“Th

24、e Rite of Spring”) against financial loss, and provided her new home Bel Respiro, located in a Paris suburb, as a residence for composer Stravinsky and his family. 19 In addition to turning out her couture collections, Chanel threw her prodigious energies into designing dance costumes for the cuttin

25、g-edge Ballet Russe. Between the years 1923-1937, she collaborated on productions choreographed by Diaghilev and dancer Vaslav Nijinsky, notably Le Train bleu, a dance-opera, Orphe and Oedipe Roi. 208In 1924, Chanel made an agreement with the Wertheimer brothers, Pierre and Paul, directors of the em

26、inent perfume house Bourgeois since 1917, creating a corporate entity, Parfums Chanel. The Wertheimers agreed to provide full financing for production, marketing and distribution of Chanel No. 5. For ten percent of the stock, Chanel licensed her name to Parfums Chanel and removed herself from involv

27、ement in all business operations.21 Displeased with the arrangement, Chanel worked for more than twenty years to gain full control of Parfums Chanel.21 She proclaimed that Pierre Wertheimer was “the bandit who screwed me.”22One of Chanels longest and enduring associations was with Misia Sert, a noto

28、rious member of the Parisian, bohemian elite and wife of Spanish painter Jos-Maria Sert. It is said that theirs was an immediate bond of like souls, and Misia was attracted to Chanel by “her genius, lethal wit, sarcasm and maniacal destructiveness, which intrigued and appalled everyone.” 23 Both wom

29、en, convent bred, maintained a friendship of shared interests, confidences and drug use. By 1935, Chanel had become a habitual drug user, injecting herself with morphine on a daily basis until the end of her life.24 According to Chandler Burrs The Emperor of Scent, Luca Turin related an apocryphal s

30、tory in circulation that Chanel was called Coco because she threw the most fabulous cocaine parties in Paris 259In 1923, Vera Bate Lombardi, born Sarah Gertrude Arkwright,26 reputedly the illegitimate daughter of the Marquess of Cambridge,26 afforded Chanel entry into the highest levels of British a

31、ristocracy. It was an elite group of associations revolving around such personages as Winston Churchill, aristocrats such as the Duke of Westminster and royals such as Edward, Prince of Wales. It was in Monte Carlo in 1923, at age forty-two that Chanel was introduced by Lombardi to the vastly wealth

32、y Duke of Westminster, Hugh Richard Arthur Grosvenor, known to his intimates as “Bendor”. The Duke of Westminster lavished Chanel with extravagant jewels, costly art, and a home in Mayfair. In 1929, he gifted her with a parcel of land he had purchased near Monte Carlo where Chanel built an opulent v

33、illa, La Pausa.27 His affair with Chanel lasted ten years.28 The Duke, an outspoken anti-Semite, intensified Chanels inherent antipathy toward Jews and shared with him an expressed homophobia. In 1946, Chanel is quoted by her friend and confidante, Paul Morand: “Homosexuals? I have seen young women

34、ruined by these awful queers: drugs, divorce, scandal. They will use any means to destroy a competitor and to wreak vengeance on a woman. The queers want to be womenbut they are lousy women. They are charming!” 29 Coinciding with her introduction to the Duke, was her introduction, again through Lomb

35、ardi, to Lombardis cousin, the Prince of Wales, Edward VIII. The Prince became smitten with Chanel and pursued her in spite of her involvement with the Duke of Westminster. It is said that he visited Chanel in her apartment and requested that she call him “David,” a privilege reserved only for his c

36、losest friends and family. Years later, Diana Vreeland, editor of Vogue, would insist: “the passionate, focused and fiercely independent Chanel, a virtual tour de force,” and the Prince, “had a great romantic moment together.” 3010It was in 1931 while in Monte Carlo that Chanel made the acquaintance

37、 of Samuel Goldwyn. The introduction was made through a mutual friend, the Grand Duke Dmitri Pavlovich, cousin to the last czar of Russia, Nicolas II. Goldwyn offered Chanel a tantalizing proposition. For the sum of a million dollars (approximately seventy-five million today), he would bring her to

38、Hollywood twice a year to design costumes for MGM stars. Chanel accepted the offer. En route to California from New York traveling in a white train car, which had been luxuriously outfitted specifically for her use, she was interviewed by Colliers magazine in 1932. Chanel said she had agreed to the

39、arrangement to see what the pictures have to offer me and what I have to offer the pictures.31 This enterprise with the film industry left Chanel with a dislike for the business of movie making and distaste for the Hollywood culture itself, which she denounced as “infantile.” 32 Chanels verdict was

40、that: Hollywood is the capital of bad taste.and it is vulgar.33 Ultimately, her design aesthetic did not translate well to film, failing to satisfy the standard of Hollywood glamour of the era. On screen her creations did not transmit enough dazzle and sexy allure. Her designs for film stars were no

41、t acclaimed and generated little comment.34 Despite her failure in Hollywood, Chanel went on to design the costumes for several French films, including Jean Renoirs 1939 film La Rgle du jeu where she was credited as La Maison Chanel.Chanel was the mistress of some of the most influential men of her

42、time, but she never married. She had affairs with the poet Pierre Reverdy, and illustrator and designer, Paul Iribe. After her romance with Reverdy ended in 1926, they still maintained a friendship which lasted some forty years.35 Her involvement with Iribe was a deep one until his sudden death in 1

43、935. Iribe and Chanel shared the same reactionary politics, Chanel financing Iribes monthly, ultra-nationalist newsletter, Le Tmoin, which fueled an irrational fear of foreigners and preached anti-Semitism.36Chanel was well aware that her lineage from peasant stock would forever prohibit her marriag

44、e into aristocratic circles. When asked why she did not marry the The Duke of Westminster, she stated: There have been several Duchesses of Westminster. There is only one Chanel.3711As the 1930s progressed, Chanels place on the throne of haute couture came under threat. The boyish look and the short

45、 skirts of the 1920s flapper seemed to disappear overnight. Chanels designs for film stars in Hollywood had met with failure, and had not aggrandized her reputation as expected. More significantly, Chanels star had been eclipsed by her premier rival, the designer, Elsa Schiaparelli. Schiaparellis in

46、novative design, replete with playful references to Surrealism was creating much enthusiasm and excitement in the fashion world. Feeling she was losing her avant-garde edge, Chanel proceeded to collaborate with Jean Cocteau on his theatre piece, Oedipe Rex. The costumes she designed were mocked and

47、critically lambasted: “Wrapped in bandages the actors looked like ambulant mummies or victims of some terrible accident.” 3812World War IIIn 1939, at the beginning of World War II, Chanel closed her shops, maintaining her apartment situated above the couture house at 31 rue Cambon. She claimed that

48、it was not a time for fashion.18 Three thousand female employees lost their jobs.39 The advent of war had given Chanel the opportunity to retaliate against those workers who, lobbying for fair wages and work hours, had closed down her business operation during the general labor strike in France in 1

49、936. In closing her couture house, Chanel made a definitive statement of her political views. Her violent loathing of Jews, inculcated by her convent years and sharpened by her association with society elites had solidified her beliefs. She shared with most of her circle the conviction that Jews wer

50、e a Bolshevik threat to Europe.39 During the German occupation Chanel resided at the Hotel Ritz, which was also noteworthy for being the preferred place of residence for upper echelon German military staff. Her romantic liaison with Hans Gnther von Dincklage, a German officer who had been an operati

51、ve in military intelligence since 1920,40 facilitated her arrangement to reside at the Ritz.41World War II, specifically the Nazi seizure of all Jewish-owned property and business enterprises, provided Chanel with the opportunity to gain the full monetary fortune generated by Parfums Chanel and its

52、most profitable product, Chanel No. 5. The directors of Parfums Chanel, the Wertheimers, were Jewish, and Chanel used her position as an “Aryan” to petition German officials to legalize her claim to sole ownership. On May 5, 1941, she wrote to the government administrator charged with ruling on the

53、disposition of Jewish financial assets. Her grounds for proprietary ownership were based on the claim that “Parfums Chanel “is still the property of Jews”and had been legally “abandoned” by the owners.42 “I have,” she wrote, “an indisputable right of prioritythe profits that I have received from my creations since the foundation of th