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Relevant bibliographies by topics / Coco Chanel Fashion House

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Journal articles

Academic literature on the topic 'Coco Chanel Fashion House'

Author: Grafiati

Published: 28 May 2022

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Journal articles on the topic "Coco Chanel Fashion House"

1

Lipczik, Agata. "Od imitacji do kreacji. Biżuteria sztuczna w 1 poł. XX wieku." Załącznik Kulturoznawczy, no. 6 (2019): 247–62. http://dx.doi.org/10.21697/zk.2019.6.12.

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The article discusses the production of costume jewellery in the first half of the 20th century. During this period, the jewellery made of less expensive materials has undergone a revolution in terms of its function. In the 20th century, the adornments ceased to be only imitations of precious gems and gradually gained their own identity. Promoted by Coco Chanel and, later on, by other French fashion designers, costume jewellery has become an independent genre of body ornament. Due to its lower production costs, Agata Lipczik designers could experiment with various materials, giving free rein t

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2

BURMAN, B. "Fashion in Photographs 1860 1880 * Fashion in Photographs 1880 1900 * Coco Chanel." Journal of Design History 6, no. 3 (1993): 220–22. http://dx.doi.org/10.1093/jdh/6.3.220.

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3

Mackrell, Alice. "Megan Hess, Coco Chanel. The Illustrated World of a Fashion Icon." Costume 51, no. 1 (2017): 139. http://dx.doi.org/10.3366/cost.2017.0014.

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Vettese, Samantha. "The Ballets Russes Connection with Fashion." Costume 42, no. 1 (2008): 130–44. http://dx.doi.org/10.1179/174963008x285232.

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This paper examines the influence that the costume designers of the Ballets Russes, many of whom were important artists from significant art movements of the day, had on contemporaneous fashion. It looks at why in particular the 'Ballets Russes' artists Leon Bakst and Natalia Goncharova went on to involve themselves in actual fashion production and the similarities between their work and the fashion designers producing work at the same time, principally Paul Poiret, Mariano Fortuny and Coco Chanel. Overall, this paper investigates the significance of the cultural times and of the distinct char

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5

Jerca, Legan Cvikl. "A Pioneer of Women’s Liberation." Academicus International Scientific Journal 24 (July 2021): 174–83. http://dx.doi.org/10.7336/academicus.2021.24.11.

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Gabrielle Bonheur “Coco” Chanel is a creative icon who has freed the ‘new’ woman from the millennium of dictated dress codes, stereotypical behaviors and clichéd sexual and status simplification. The little black dress has become synonymous of sophistication, to the femininity she gave the character flavor of relaxation and empowered women with timeless clothing pieces and equipped them with inspiring pieces of jewelry, distinctive decorative accessories and bold fragrances. Since then, with the Chanel fashion women were able to step sovereignly and freely aside of male. Coco resisted the rese

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Machuco Rosa, António. "From dandyism to ‘Coco’ Chanel: A reassessment of Georg Simmel’s theory of fashion." International Journal of Fashion Studies 3, no. 1 (2016): 91–110. http://dx.doi.org/10.1386/infs.3.1.91_1.

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Rosa, António Machuco. "The evolution and democratization of modern fashion: from Frederick Worth to Karl Lagerfeld’s fast fashion." Comunicação e Sociedade 24 (December 30, 2013): 79–94. http://dx.doi.org/10.17231/comsoc.24(2013).1777.

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This article examines how the haute couture associated with fashion evolved from the initial creation of Frederik Worth to Karl Lagerfeld. The main idea is to see how the manifestations of the desire to display himself are grounded on differentiation strategies that are always positioned themselves as an anti-fashion critic of previous fashions. In particular, it will be analyzed three moments in the process of democratization of fashion: the chic haute couture created by Coco Chanel in opposition to Paul Poiret conspicuous and ostentatious fashion, the Yves Saint Laurent strategy that indifer

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Brogi, Stefano, Armando Calabrese, Domenico Campisi, Guendalina Capece, Roberta Costa, and Francesca Di Pillo. "The Effects of Online Brand Communities on Brand Equity in the Luxury Fashion Industry." International Journal of Engineering Business Management 5 (January 1, 2013): 32. http://dx.doi.org/10.5772/56854.

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Quoting the fashion genius Coco Chanel: “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” This is even more true today than it was back then. Indeed, Web 2.0 technologies have made luxury fashion more accessible to everyone. Nowadays, consumers can instantly access a wide variety of fashion goods on the Internet and share brand experiences with other consumers. In this scenario, Online Brand Communities (OBCs) allow fashion customers to communicate with each other without any restricti

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9

Rosa, António Machuco. "A evolução e democratização da moda moderna: de Frederik Worth à fast-fashion de Karl Lagerfeld." Comunicação e Sociedade 24 (December 30, 2013): 62–78. http://dx.doi.org/10.17231/comsoc.24(2013).1776.

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Este artigo analisa a forma como a alta-costura associada à moda evoluiu desde as criações iniciais de Frederik Worth até Karl Lagerfeld. A ideia guia consiste em ver como as formas de exibição do desejo de si mesmo assentaram em estratégias de diferenciação que se posicionaram sempre como uma anti-moda crítica das modas anteriores. Em particular serão analisados três momentos do processo de democratização da moda: a alta-costura chic criada por Coco Chanel em oposição à moda conspícua e ostentadora de Paul Poiret, a estratégia indiferenciadora de géneros de Yves Saint Laurent, e a estratégia

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Karwacka, Lidia, Aneta Kamińska, Dorota Wójcik, et al. "Pro-health behavior of Łęczna town residents concerning protection against UV radiation." Polish Journal of Public Health 126, no. 2 (2016): 72–75. http://dx.doi.org/10.1515/pjph-2016-0015.

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Abstract Introduction. The fashion for a tan appeared at the beginning of the twentieth century, in the era of technological progress and urbanization with medical knowledge about heliotherapy and the promotion of the tan by fashion designer Coco Chanel being a contributing factor in it. The International Agency for Research on Cancer classified the UV to the first group of carcinogens but despite these warnings the increase in exposure to UV radiation has been seen in recent years. New solariums have been created around the world so that people can enjoy a tan all year round, no matter what t

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