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Journal articles on the topic 'Coco Chanel Fashion House'

Author: Grafiati
Published: 28 May 2022

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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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4

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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7

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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10

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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11

"Coco Chanel in Hollywood: Selling Movies through Fashion." Missouri Review 41, no. 3 (2018): 113–25. http://dx.doi.org/10.1353/mis.2018.0036.

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12

See, Pamela Mei-Leng. "Branding: A Prosthesis of Identity." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1590.

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This article investigates the prosthesis of identity through the process of branding. It examines cross-cultural manifestations of this phenomena from sixth millennium BCE Syria to twelfth century Japan and Britain. From the Neolithic Era, humanity has sort to extend their identities using pictorial signs that were characteristically simple. Designed to be distinctive and instantly recognisable, the totemic symbols served to signal the origin of the bearer. Subsequently, the development of branding coincided with periods of increased in mobility both in respect to geography and social strata.
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13

Cattani, Gino, Mariachiara Colucci, and Simone Ferriani. "From the Margins to the Core of Haute Couture: The Entrepreneurial Journey of Coco Chanel." Enterprise & Society, January 12, 2022, 1–43. http://dx.doi.org/10.1017/eso.2021.58.

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We trace the history of Gabrielle “Coco” Chanel’s entrepreneurial journey as a fashion designer from her early years as an outsider (early 1900s) to her rise to success and consecration as an icon within the French haute couture field (early 1930s)—a field controlled by powerful insiders. Our study sheds light on the social forces and historical circumstances underlying an outsider’s journey from the margins of an established field to its core. Drawing on unique historical material, we develop a novel process view that highlights the shifting influence of forces operating at different levels i
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14

Distad, Merrill. "Bad Girls of Fashion: Style Rebels from Cleopatra to Lady Gaga by J. Croll." Deakin Review of Children's Literature 7, no. 4 (2018). http://dx.doi.org/10.20361/dr29343.

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Jennifer Croll. Bad Girls of Fashion: Style Rebels from Cleopatra to Lady Gaga. Illustrated by Ada Buchholc. Annick Press, 2016.Vancouver journalist and fashion historian Jennifer Croll, author of Fashion that Changed the World (2014), has here shifted gears to acquaint younger readers with the role of fashion in the history of women’s empowerment and liberation. Through the lens of biography, Croll traces the gradual rise of Girl Power reflected in, and partly driven by, the fashion choices of forty women, all of them “Style Rebels.” She divides them into ten categories that include Leaders,
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15

Fraim, John. "Friendly Persuasion." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1825.

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"If people don't trust their information, it's not much better than a Marxist-Leninist society." -- Orville Schell Dean, Graduate School of Journalism, UC Berkeley "Most people aren't very discerning. Maybe they need good financial information, but I don't think people know what good information is when you get into culture, society, and politics." -- Steven Brill,Chairman and Editor-in-chief, Brill's Content Once upon a time, not very long ago, advertisements were easy to recognise. They had simple personalities with goals not much more complicated than selling you a bar of soap or a box of c
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16

Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos
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