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- Duration: 17:04
- Updated: 13 May 2013
- published: 23 Jan 2013
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- author: CHANEL
If you see me in the pouring rain
No, I'm never coming back again
For you, my beloved Chanel
Walk along my dear hand in hand
No not a tear not a grain of sand
For you, my beloved Chanel
Dancin' on the moonlit sky
Glancin' in each others' eye
Oh, my heart does swell
Believe me when I say to you
You really ring my bell
Walking in the park the other day
My heart skipped as I heard him say
For you, my beloved Chanel
Crying, screaming, ranting, raving mad
If you were dead, boy would I be glad
For you, my beloved Chanel
Dancin' on the moonlit sky
Glancin' in each others' eye
Oh, my heart does swell
Believe me when I say to you
Go right to hell
Dancin' on the moonlit sky
Glancin' in each others' eye
Oh, my heart does swell
Believe me when I say to you
You really ring my bell
Laughin' as your grave is built
Not an ounce of shame or guilt
For you, my beloved Chanel
I never cried, I never could
All the blame will do no good
For you, my beloved Chanel
For you, my beloved Chanel
Got me hurting cause I'm wanting you
And you're leaving me
Said you need more space
Even makes your life much easier
Your love I'll share
Just tell me that you'll stay
Cause you can't go, not just yet
Want you close, by my side
When love's this good, it's hard to find
Know that I love you, and you're always in...
My life, my life, and I want you in...
It's not like me to be this way
But my love for you has got me so confused
And it's not the things you do for me
How you make me feel
Keeps me wanting you
You can't go, not just yet
Want you close, by my side
When love's this good, it's hard to find
Know that I love you, and you're always in...
My life, my life, and I want you in...
I just wanna let you know that I'l be here for you
To make sure that you're happy, my happiness is you
I just wanna let you know that I'l be here for you
I just wanna hold on to the love I found
You can't go, not just yet
Want you close, by my side
File:Chanel logo interlocking cs.svg | |
Type | Société Anonyme |
---|---|
Industry | Fashion |
Founded | 1909 |
Founder(s) | Gabrielle Bonheur Chanel |
Headquarters |
Paris, France 135 Avenue Charles de Gaulle92521 Neuilly-sur-Seine Cedex |
Number of locations | 310 (ca. September 2010) |
Area served | Asia, Europe, Oceania, and the Americas |
Key people | Karl Lagerfeld, Chief Designer Alain Wertheimer, co-owner Gerard Wertheimer, co-owner |
Products | Haute couture, perfume, jewellery, accessories |
Revenue | €1.809 billion (2010) |
Net income | €280.3 million (2010) |
Employees | 1,270 (2010) |
Website | www.chanel.com |
Chanel S.A. (French: [ʃanɛl], English: /ʃəˈnɛl/) is the French house of high fashion that specializes in haute couture and ready-to-wear clothes, luxury goods, and fashion accessories.[1][2] In her youth, the couturière Gabrielle Bonheur Chanel gained the soubriquet “Coco” in the course of her career as a chanteuse de café in provincial France. As a fashion designer, Coco Chanel catered to a woman’s taste for elegance in dress, with blouses and suits, trousers and dresses, and jewellry (gemstone and bijouterie) of simple design, that replaced the opulent, over-designed, and constrictive clothes and accessories of the 19th-century fashion. Historically, the House of Chanel is most famous for the stylistically versatile “little black dress”, the perfume No. 5 de Chanel, and the Chanel Suit. As a business enterprise, Chanel S.A. is a privately held company owned by Alain Wertheimer and Gerard Wertheimer, grandsons of Pierre Wertheimer, an early business partner of Coco Chanel. Commercially, the brands of the House of Chanel have been personified by fashion models and actresses, by women such as Inès de la Fressange, Catherine Deneuve, Carole Bouquet, Vanessa Paradis, Nicole Kidman, Anna Mouglalis, Audrey Tautou, Keira Knightley, and Marilyn Monroe, who epitomise the independent, self-confident Chanel Girl.[3]
As a couturière, the milliner and dressmaker Gabrielle Bonheur Chanel presented and established new clothing and costume designs that promoted women from being male objects of conspicuous consumption and sexual display, to being persons who dressed for themselves, in comfortable clothes that allowed free movement; as such, the practical application of jersey fabric to the construction of clothes was one technical innovation that made the garments popular and affordable.[4] Chanel revolutionized fashion — haute couture and prêt-à-porter — by replacing the structured-silhouette fashions, based upon the corset and the bodice, with garments of simple design that were cut and confected to be functional, and to aesthetically enhance the woman’s figure, in action and in repose.
In the 1920s, the simple-line designs of Chanel couture made popular the “flat-chested” fashions that were the opposite of the hourglass-figure achieved by the restrictively structured and ornate fashions of the late 19th century — the Belle Époque of France (ca. 1890–1914), and the British Edwardian Era (ca. 1901–1919). Besides comfortable wear, Chanel’s stylish and functional clothes were complemented by the suppleness of jersey fabric, which allowed the modern, 20th-century-woman to live and practice an active style of life; colour-wise, the fashion designer Coco Chanel used traditionally masculine colours, such as grey and navy blue, to connote boldness of character.[5][6]
The clothes of the House of Chanel also are known for quilted fabric and leather trimmings; the quilted construction of the garment reinforces the fabric, the design, and the finish, which produce a garment confected to maintain its form and function in every circumstance. The notable example of such haute couture techniques is the woolen Chanel Suit — a knee-length skirt and a cardigan-style jacket, trimmed and decorated with black embroidery and gold-coloured buttons. The complementary accessories are two-tone pump shoes and jewellry (gemstone and bijouterie), usually a necklace of pearls, and a leather handbag. Moreover, the great financial, commercial, and cultural successes of perfume No. 5 increased public recognition of the House of Chanel, desire for its haute couture designs, demand for the prêt-à-porter clothes, and enhanced the artistic reputation of the couturière Coco Chanel; and, in lean times, perfume kept Chanel solvent.[2][5][7]
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The House of Chanel (Chanel S.A.) originated in 1909, when Gabrielle Chanel opened a millinery shop at 160 Boulevard Malesherbes, the ground floor of the Parisian flat of the socialite and textile businessman Étienne Balsan, of whom she was mistress.[2] Hence, because the Balsan flat also was a salon for the French hunting and sporting élite, Chanel had opportunity to meet their demi-mondaine mistresses, who, as such, were women of fashion, upon whom the rich men displayed their wealth — as ornate clothes, jewelry, and hats; Coco Chanel thus could sell to them the hats she designed and made; she thus earned a living, independent of her financial sponsor, the socialite Balsan. In the course of those salons Coco Chanel befriended Arthur ‘Boy’ Capel, an English socialite and polo player friend of Étienne Balsan; per the upper class social custom, Chanel also became mistress to Boy Capel. Nonetheless, despite that social circumstance, Boy Capel perceived the businesswoman innate to Coco Chanel, and, in 1910, financed her first independent millinery shop, Chanel Modes, at 21 rue Cambon, Paris; yet, because that locale already housed a dress shop, the business-lease limited Chanel to selling only millinery products, not couture. Two years later, in 1913, the Deauville and Biarritz couture shops of Coco Chanel offered for sale prêt-à-porter sports clothes for women, the practical designs of which allowed the wearer to play sport.[2][5]
The economic imperatives of national military victory in First World War (1914–18) affected European fashion through scarcity of materials, and the socio-economic mobilisation of women — from objects of sexual desire and economic display — to productive workers. Besides active military service, the enforced and increased production of coal made men scarce in the factories and in the fields, where they were replaced by women. Until that time — the end of 19th-century culture — fashion for women was about the masculine display of conspicuous consumption, so, clothes makers and designers then had to produce practical and protective garments that would allow women the physical freedom required to do a man’s job — in factory and field — in order to supply the French war effort against Imperial Germany (1871–1918). By that time, Chanel had opened a large dress shop at 31 rue Cambon, near the Hôtel Ritz, in Paris; among the clothes for sale were flannel blazers, straight-line skirts of linen, sailor blouses, long sweaters made of jersey fabric, and skirt-and-jacket suits. Technically, besides its relative low cost, as a couturière, Coco Chanel used jersey cloth because of its physical properties as a garment, such as its drape — how it falls upon and falls from the body of the woman — and how well it adapted to the simple garment-design that allowed the wearer freedom of movement, physical comfort, and flattering aesthetics. Sartorially, some of Chanel’s designs derived from the military uniforms made prevalent by the War to End all Wars; and, by 1915, the designs and the clothes confected by the House of Chanel were known throughout France.[2]
In 1915 and in 1917, Harper’s Bazaar magazine reported that the garments of the House of Chanel were “on the list of every buyer” for the clothing factories of Europe.[2] The Chanel dress shop at 31 rue Cambon presented day-wear dress-and-coat ensembles of simple design, and black evening dresses trimmed with lace; and tulle-fabric dresses decorated with jet, a minor gemstone material; the high-quality confection (design, construction, finish) of such clothes established the professional reputation of Coco Chanel as a meticulous couturière.[2] After the First World War, the House of Chanel, following the fashion trends of the 1920s, produced beaded dresses, made especially popular by the Flapper woman.[2] Moreover, by 1920, Chanel had designed and presented a woman’s suit of clothes — composed either of two garments or of three garments — which allowed a woman to have a modern, feminine appearance, whilst being comfortable and practical to maintain; advocated as the “new uniform for afternoon and evening”, it became known as the Chanel Suit. In 1921, to complement the suit of clothes, Coco Chanel commissioned the perfumer Ernest Beaux to create a perfume for the House of Chanel, and he produced several échantillons, including the perfume No.5, named after the number of the sample Chanel liked best. Originally, a flaçon of No. 5 de Chanel was a gift to regular clients of Chanel — yet, the popularity of the perfume prompted the House of Chanel to offer it for retail sale in 1922; in the event, No. 5 de Chanel became the signature fragrance of the couturière and of her house of couture. In 1923, to explain the success of her clothes, Coco Chanel told Harper’s Bazaar magazine that design “simplicity is the keynote of all true elegance.”[2][8]
The success of the No. 5 encouraged Coco Chanel to expand perfume sales beyond France and Europe, and to develop other parfumerie — for which she required investment capital, business acumen, and commercial access to the North American market. To that end, the businessman Théophile Bader (founder of Galeries Lafayette) introduced the venture capitalist Pierre Wertheimer to the couturière Coco Chanel. Their 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.[7] Nonetheless, despite the great business success of the Chanel couture and parfumerie, the personal relations between the couturière and her capitalist partner deteriorated, because, the artiste Coco Chanel said that Pierre Wertheimer was unfairly exploiting her talents as a fashion designer and as a businesswoman.[7] Wertheimer reminded Chanel that he had made her a very rich woman; and that his venture capital had funded Chanel’s productive expansion of the parfumerie which created the wealth they enjoyed, all from the success of No. 5 de Chanel. Nevertheless unsatisfied, the businesswoman Gabrielle Chanel hired the attorney René de Chambrun to renegotiate the 10-per-cent partnership she entered, in 1924, with the Parfums Chanel company; the lawyer-to-lawyer negotiations failed, and the partnership-percentages remained as established in the original business deal among Wertheimer, Badel, and Chanel.[7]
From the gamine fashions of the 1920s, the dressmaker Coco Chanel had progressed to womanly fashions in the 1930s, which was a decade of innovations in the confection of haute couture clothes at Maison Chanel S.A.; evening-dress designs were characterised by an elongated feminine style, and summer dresses featured scintillating contrasts, such as silver eyelets, and shoulder straps decorated with rhinestones. In 1932, Mademoiselle Chanel presented an exhibition of jewelry dedicated to the diamond as fashion accessory; it featured the stylistically memorable Comet and Fountain necklaces of diamonds, which were of such original design, that Chanel S.A. re-presented them in 1993. Moreover, by 1937, the House of Chanel had expanded the range of its clothes to more women, and presented prêt-à-porter clothes designed, cut, and confected especially for the petite woman.[2] Among fashion designers, wherein rag-trade originality is in the dress-making technique — design, cut, and confection — only the haute couture created by the avant-garde Elsa Schiaparelli could compete with the clothes of Coco Chanel.[2]
During the Second World War (1939–45), Coco Chanel closed shop at Maison Chanel — leaving only jewellry and parfumerie for sale — and moved the Hôtel Ritz Paris, where she resided with her boyfriend, Hans Günther von Dincklage, a Nazi intelligence officer.[2][5][7] Upon conquering France in June of 1940, the Nazis established a Parisian occupation-headquarters in the Hôtel Meurice, on the rue de la Rivoli, opposite the Louvre Museum, and just around the corner from the fashionable Maison Chanel S.A., at 31 rue Cambon.[2] Meanwhile, because of the Nazi occupation’s official anti-Semitism, Pierre Wertheimer and family, had fled France to the U.S., in mid-1940. Later, in 1941, Coco Chanel attempted to legalistically assume full and formal business control of Parfums Chanel, but was thwarted by an administrative delegation that disallowed her sole disposition of the parfumerie. Having foreseen the Nazi occupation policy of the seizure-and-expropriation to Germany of Jewish business and assets in France, Pierre Wertheimer, the majority partner, had earlier, in May 1940, designated Felix Amiot, a Christian French industrialist, as the “Aryan” proxy whose legal control of the Parfums Chanel business proved politically acceptable to the Nazis, who then allowed the perfume company to continue as an operating business.[7][9]
Occupied France abounded with rumours that Coco Chanel was a Nazi collaborator; her clandestine identity was secret agent 7124 of the Abwehr, code-named “Westminster”.[10] As such, by order of General Walter Schellenberg, of the Sicherheitsdienst, Chanel was despatched to London on a mission to communicate to British Prime Minister Winston Churchill the particulars of a “separate peace” plan proposed by Reichsführer-SS Heinrich Himmler, who sought to avoid surrendering to the Red Army of the Soviet Russians. At War’s end, upon the Allied liberation of France, Chanel was arrested for having collaborated with the Nazis. In September 1944, the Free French Purge Committee, the épuration, summoned Chanel for interrogation about her collaborationism, yet, without documentary evidence of or witnesses to her collaboration with the Nazis, and because of Churchill’s secret intervention in her behalf, the épuration released Coco Chanel from arrest as a traitor to France.[11][7] Nation-wide, the liberated French people avenged themselves upon the men and the women who had collaborated with the Third Reich’s brutal, five-year occupation of France; a shaved head was the mildest punishment for les collaborateurs horizontales, women who had expediently perdured the Occupation and survived the War with sexual prostitution. Despite having been freed by the British political grace of the deus ex machina Churchill, the strength of the rumours of Chanel’s Nazi collaboration had made it infeasible for her to safely remain in France; promptly, Coco Chanel and her German lover, Hans Günther von Dincklage, went into an eight-year exile to Switzerland.[2][7]
In the post–War period, during Coco Chanel’s Swiss exile from France, Pierre Wertheimer returned to Paris, and regained formal administrative control of his family’s business holdings — including control of Parfums Chanel, the parfumerie established with his venture capital, and successful because of the Chanel name.[7] In Switzerland, the news revived Coco Chanel’s resentment at having been an artiste commercially exploited by her business partner, for only ten per cent of the money; spiteful, she then established a rival Swiss parfumerie to create, produce, and sell her “Chanel perfumes”. In turn, Wertheimer, the majority capital stock owner of Parfums Chanel, saw his business interests threatened, and his commercial rights infringed, because he did not possess legally exclusive rights to the Chanel name. Nonetheless, Wertheimer avoided a trademark infringement lawsuit against Coco Chanel, lest it damage the commercial reputation and the artistic credibility of his Chanel-brand parfumerie. Sagaciously, Pierre Wertheimer settled his business- and commercial-rights quarrel with Mademoiselle Chanel, and, in May 1947, they renegotiated the 1924 contract that had established Parfums Chanel — she was paid $400,000 in cash (wartime profits from the sales of perfume No. 5 de Chanel); assigned a 2.0 per cent running royalty from the sales of No. 5 parfumerie; assigned limited commercial rights to sell her “Chanel perfumes” in Switzerland; and granted a perpetual monthly stipend that paid all of her expenses. In exchange, the astute businesswoman, Gabrielle Chanel closed her Swiss parfumerie enterprise, and sold to Parfums Chanel the full rights to the name “Coco Chanel”.[7][12]
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In 1953, from Switzerland, Coco Chanel returned to Paris, and found the fashion world enamoured of the “New Look”, by Christian Dior, which, although very feminine, was, in her opinion, a return to the corseted fashions she had opposed at the beginning of her career as a couturière.[2] It was a stylistic and technical challenge to which she responded, by recognizing and acknowledging, that although the market for haute couture was much changed, she could catch-up and prevail.[2] Becoming competitive again would necessarily come at a great price; Chanel needed to be a significant presence in: haute couture, pret-a-porter, costume jewelry and fragrance. Coco swallowed her pride and re-approached Pierre for business advice and financial backing.[7] In return, he negotiated for himself complete rights to all products bearing the brand: "Chanel."[7] But their re-kindled collaboration paid off handsomely as Chanel, with her unerring sense of style, once again became the single, most prestigious label in all of fashion.[7] Importantly for the brand and starting in 1953, Coco collaborated with jeweler Robert Goossens to design a line of Chanel jewelry which exquisitely complimented her iconic fashion designs. For example, she paired her re-launched signature "Chanel Suit" (consisting of a knitted wool cardigan with a matching skirt) with long strings of black and white pearls, setting off the suit wonderfully while at the same time adding to it a degree of femininity, thus lightening a sometimes severe look."[5]
She also introduced the Chanel gold or metallic chain-strapped and quilted leather handbags in February 1955. The launch date for this line, 2/55, thus became the internal "appellation" for the quilted bag line. It is still known throughout the world as the "2/55" bag and it, just like the "Chanel Suit" has never really ever fallen out of fashion.[2] Throughout the fifties, her taste continued its unerring path to success, even as she turned to new areas of conquest. Her first venture into men's fragrance became yet another enduring success, Chanel's eau de toilette for men, Pour Monsieur (which has also been marketed under the name: "A Gentleman's Cologne") became, endured and remains even today the number one selling men's fragrance. Chanel and her spring collection received the Fashion Oscar at the 1957 Fashion Awards in Dallas. Pierre Wertheimer bought Bader's 20% share of the perfume business, giving his family 90 per cent.[7] Pierre's son Jacques Wertheimer took his father's place in 1965.[7] Coco's attorney Chambrun called the now-gone-relationship as "one based on a businessman's passion, despite her misplaced feelings of exploitation."[7] He told Forbes, "Pierre returned to Paris full of pride and excitement [after one of his horses won the 1956 English Derby]. He rushed to Coco, expecting congratulations and praise. But she refused to kiss him. She resented him, you see, all her life."[7]
Coco Chanel died on 10 January 1971, aged 87.[2] She was still "designing, still working" at the time of her death.[2] For example, in the (1966–1969) period, she designed the air hostess uniforms for Olympic Airways, the designer who followed her was Pierre Cardin. In that time, Olympic Airways was a luxury airline, owned by the transport magnate Aristotle Onassis. After her death, leadership of the company was handed down to Yvonne Dudel, Jean Cazaubon, and Philippe Guibourge.[2] After a period of time, Jacques Wertheimer bought the controlling interest of the House of Chanel.[2][7] Critics stated that during his leadership, he never paid much attention to the company, as he was more interested in horse breeding.[7] In 1974, the House of Chanel launched Cristalle eau de toilette, which was designed when Coco Chanel was alive. 1978 saw the launch of the first non-couture, prêt-à-porter line and worldwide distribution of accessories.
Alain Wertheimer, son of Jacques Wertheimer, assumed control of Chanel S.A. in 1974.[2][7] In the U.S., No. 5 de Chanel was perceives as a passé fashion.seen as a passe perfume.[7] Alain revamped Chanel No.5 sales by reducing the number of outlets carrying the fragrance from 18,000 to 12,000. He removed the perfume from drugstore shelves, and invested millions of dollars in advertisement for Chanel cosmetics. This ensured a greater sense of scarcity and exclusivity for No.5, and sales rocketed back up as demand for the fragrance increased.[7] He also used many famous people to endorse the perfume — from Marilyn Monroe to Audrey Tautou. Looking for a designer who could bring the label to new heights, he persuaded Karl Lagerfeld to end his contract with fashion house Chloé.
In 1981, Chanel launched a new eau de toilette for men, Antaeus. In 1983, Karl Lagerfeld took over as chief designer for Chanel.[7] He changed Chanel's fashion lines from the old lines to shorter cuts and eye capturing designs. During the 1980s, more than 40 Chanel boutiques were opened up worldwide.[7] By the end of the 1980s, these boutiques sold goods ranging from US$200-per-ounce perfume, US$225 ballerina slippers to US$11,000 dresses and US$2,000 leather handbags.[7] Rights to Chanel cosmetics and fragrances were held by Chanel only and not shared with other beauty producers and distributors.[7] As Lagerfeld took charge as chief designer, other designers and marketers for Chanel worked on keeping the classic Chanel look to maintain the Chanel legend.[7] Chanel marketer Jean Hoehn explained, "We introduce a new fragrance every 10 years, not every three minutes like many competitors. We don't confuse the consumer. With Chanel, people know what to expect. And they keep coming back to us, at all ages, as they enter and leave the market."[7] The launch of a new fragrance in honor of Coco Chanel, Coco, in 1984 maintained success in the perfumery business with Chanel.[7] In 1986, the House of Chanel struck a deal with watchmakers and in 1987, the first Chanel watch made its debut. By the end of the decade, Alain moved the offices to New York City.[7]
The company became a global leader in fragrance making and marketing in the 1990s.[7] Heavy marketing investment increased revenue.[7] The success of the Maison de Chanel brought the Wertheimer family fortune to $5 billion USD.[7] Product lines such as watches (retailing for as much as $7,000 USD), shoes, high-end clothes, cosmetics, and accessories were expanded.[7] Sales were hurt by the recession of the early 1990s, but Chanel recovered by the mid-1990s with further boutique expansion.[7] 1990 saw the launch of ĹŹ.[7]
In 1996, Chanel bought gunmaker Holland & Holland. It attempted to revamp Holland & Holland, but did not succeed.[7] 1996 also greeted the launch of Allure fragrance and due to its immense popularity, a men's version, Allure Homme was launched in 1998. Better success came with the purchase of Eres (a swimwear label). The House of Chanel launched its first skin care line, PRÉCISION in 1999. That same year, Chanel launched a new travel collection, and under a license contract with Luxottica, introduced a line of sunglasses and eyeglass frames.
While Alain Wertheimer remained chairman of Chanel, CEO and President Françoise Montenay was to bring Chanel into the 21st century.[7] 2000 saw the launch of the first unisex watch by Chanel, the J12. In 2001, Bell & Ross was purchased (a watchmaker). The same year, Chanel boutiques offering only selections of accessories were opened in the United States.[7] Chanel also launched a small selection of menswear as a part of their runway shows which may be purchased at a few flagship boutiques including Rue Cambon vjk (Paris), Soho (New York), Roberston Blvd (Los Angeles) and the Prince's building (Hong Kong).
In 2002, Chanel launched the Chance perfume, a fragrance meant to convey glamour. The House of Chanel also founded the Paraffection company that gathered the five Ateliers d’Art: Desrues for ornamentation, Lemarié for feathers and camellias, Lesage for embroidery, Massaro for shoemaking, and Michel for millinery. A prêt-à-porter collection leveraging their know-how was designed by Karl Lagerfeld. It is now traditionally presented each December. In July 2002, a jewelry and watch flagship store was opened on the upscale Madison Avenue.[7] Within months, a 1,000sqft shoes and handbag boutique was opened next door to the jewelry and watches flagship.[7] Also in 2002, a rumor suggesting that Chanel was considering a merger with the luxury goods Parisian fashion company Hermès circulated.[7] Although such a merger would have produced one of the largest fashion companies in the world, and rival the likes of Moët-Hennessy • Louis Vuitton, it was never consummated. Chanel continued to expand in the United States and by December 2002, it operated 25 U.S. boutiques.[7] Chanel stated it would like to open more boutiques in more U.S. cities such as Atlanta and Seattle.
In order to please the younger followers, Chanel introduced Coco Mademoiselle and an "In-Between Wear" in 2003. That same year saw such an immense popularity of Chanel haute couture that the company founded a second shop on Rue Cambon. Desiring a presence in the Asian market, the House of Chanel opened a new 2,400 square feet (220 m2) boutique in Hong Kong and paid nearly $50 million USD for a building in Ginza, Tokyo.[2]
The Chanel logotype comprises two interlocked, opposed letters-C, one faced forwards, one faced backwards. The logotype was given to Chanel by the Château de Crémat, Nice, and was not registered as a trademark until the first Chanel shops were established.[13] Chanel is currently dealing with illegal use of the double-C logotype on cheaper goods, especially counterfeit handbags. The company has stated that it is a top priority of theirs to stop the sale of counterfeit products.[14] Countries said to be producing great numbers of counterfeit Chanel handbags are Vietnam and China. An authentic classic Chanel handbag retails from around US $4,150, while a counterfeit usually costs around $200 USD, creating a demand for the signature style at a cheaper price. Beginning in the 1990s, all authentic Chanel handbags are serialized.
The logotype:
The House of Chanel is represented by two interlocked letters-C, for “Coco Chanel”.
Perfume label trademark:
The “No. 5 de Chanel” trademark and font were introduced in 1926.
Couture trademark:
The small caps name and font were introduced in 1924.
One timeline measurement for Chanel presence in the United States is via trademark registered with the United States Patent and Trademark Office (USPTO). On Tuesday, 18 November 1924, Chanel, Inc. filed two trademark applications. One was for the typeset mark Chanel. The second application was for the distinctive interlocking CC design plus word mark. In that time, the Chanel trademarks were registered only for the perfume, toiletry, and cosmetic products in the primary class of common metals and their alloys. Chanel provided the description of face powder, perfume, eau de cologne, toilet water, lip stick, and rouge, to the USPTO.[15] The Chanel and double-C trademarks were awarded on the same date of 24 February 1925 with respective Serial Numbers of 71205468 and 71205469. Their status is registered and renewed and owned by Chanel, Inc. of New York. The earliest trademark application for the inaugural No. 5 perfume is on Thursday, 1 April 1926. Application was filed by Chanel, Inc. and described to the USPTO as perfume and toilet water. First use and commercial use is stated as 1 January 1921. Registration was granted on 20 July 1926 with Serial Number 71229497. No. 5's status is registered, renewed, and owned by Chanel, Inc.
Designer | Season | City | Locale | Presentation date | Line | Theme | For sale |
---|---|---|---|---|---|---|---|
Karl Lagefeld | Fall–Winter 2010 | Paris | Grand Palais | 6 July 2010 | Haute couture | A lion | On order |
Karl Lagefeld | Spring–Summer 2011 | Paris | Grand Palais | 5 October 2010 | Prêt-à-porter | An orchestra | March 2011 |
Karl Lagefeld | Paris–Byzantium | Paris | 31 rue Cambon | 7 December 2010 | Prêt-à-porter | A Byzantine palace | May 2011 |
Karl Lagefeld | Spring–Summer 2011 | Paris | Pavilion Cambon–Capucines | 25 January 2011 | Haute couture | [16][17] | On order |
Karl Lagefeld | Fall–Winter 2011 | Paris | Grand Palais | 8 March 2011 | Prêt-à-porter | A frozen garden | September 2011 |
Karl Lagefeld | Cruise 2011 | Antibes | Hôtel du Cap | 5 May 2011 | Cruise collection | Outdoors | November 2011 |
Karl Lagefeld | Fall–Winter 2011 | Paris | Grand Palais | 5 July 2011 | Haute couture | Night-time Place Vendôme [18][19] | On order |
Karl Lagefeld | Spring Summer 2012 | Paris | Grand Palais | 4 October 2011 | Prêt-à-porter | Under the Sea & Florence | March 2012 |
Karl Lagefeld | Paris–Bombay | Paris | Grand Palais | 6 December 2011 | Prêt-à-porter | An Indian palace [20] | May 2012 |
Karl Lagefeld | Spring–Summer 2012 | Paris | Grand Palais | 24 January 2012 | Haute couture | An aeroplane in flight [21] | On order |
Karl Lagefeld | Fall–Winter 2012–2013 | Paris | Grand Palais | 6 March 2012 | Prêt-à-porter | An alien world | September 2012 |
In 1924, Pierre Wertheimer founded Parfums Chanel, to produce and sell perfumes and cosmetics; the parfumerie proved to be the most profitable business division of the Chanel S.A. corporation.[7][22] Since its establishment, parfumerie Chanel has employed three perfumers:
At the commercial presentation of the Chanel handbag of classic design (and greatest popularity), the press mistakenly identified it as the 2.55 handbag, instead of having identified it as the Timeless CC handbag. The differences in product design, materuals, and manufacture, between the 2.55 and the Timeless CC handbags, are different locks and leathers; the 2.55 handbag is made of creased leather, whilst the Timeless CC handbag is made of smooth leather. Moreover, the carrying chain of the 2.55 handbag is made of links of matte-finish metal, whilst the chain of the Timeless CC handbag is made of gloss-finish metal links through which a leather strap is interlaced. The Timeless CC handbag is available in four sizes, the most popular is the second size of the range.
The Chanel wristwatch division was established in 1987, to coincide with the début presentation of the Première wristwatch.[24] In 1995, wristwatch division presented a second design, the Matelassé.[24] Although the Première and Matelassé wristwatches were successful products, the presentation, in 2000, of the Chanel J12 line of unisex style wristwatches, made of ceramic materials, established Chanel wristwatches as a recognised Chanel marque.[24] To date the J12 line of wristwatches features models in four dial-face sizes: (i) 33mm., (ii) 38mm., (iii) 41mm., and (iv) 42mm.; the available features include the “whirlwind” tourbillon mechanism that counters Earthly gravity; chronographs certified by the Contrôle Officiel Suisse des Chronomètres, and the usual bejewelled versions.[24][25] In 2008, Chanel S.A. and Audemars Piguet developed the ceramic Chanel AP-3125 clockwork, exclusive to the House of Chanel.[26]
Worldwide, Chanel S.A. operates some 310 Chanel boutiques; 94 shops in Asia, 70 shops in Europe, 10 shops in the Middle East, 128 shops in North America, 2 shops in South America, and 6 shops in Oceania.[7] The shops are located in wealthy communities, usually in department stores, shopping districts, and inside airports.[7] In Japan, the Chanel flagship store is in the Ginza district, on the corner of 3-5-3 Ginza Chuo-ku, Tokyo – 104-0061; the other three corners of the square are occupied by Louis Vuitton, Bulgari, and Cartier shops.[27]
Model | Nationality |
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Stella Tennant | United Kingdom |
Devon Aoki | United States |
Ines de la Fressange | France |
Claudia Schiffer | Germany |
Arizona Muse | United States |
Abbey Lee Kershaw | Australia |
Freja Beha Erichsen | Denmark |
Audrey Tautou | France |
Saskia de Brauw | Netherlands |
Anja Rubik | Poland |
Sasha Pivovarova | Russia |
Siri Tollerod | Norway |
Heidi Mount | United States |
Sigrid Agren | France |
Tati Cotliar | Argentina |
Karmen Pedaru | Estonia |
Karlie Kloss | United States |
Baptiste Giabiconi | France |
Kasia Struss | Poland |
Natasha Poly | Russia |
Denisa Dvorakova | Czech Republic |
Joan Smalls | Puerto Rico |
Bianca Balti | Italy |
Magdalena Frackowiak | Poland |
Toni Garrn | Germany |
Ginta Lapina | Latvia |
Julia Nobis | Australia |
Lily Donaldson | United Kingdom |
Miranda Kerr | Australia |
Lindsey Wixson | United States |
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Nicole Kidman | |
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Nicole Kidman at the 2010 Country Music Awards |
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Born | Nicole Mary Kidman 20 June 1967 Honolulu, Hawaii, U.S.A. |
Residence | Sydney, New South Wales, Australia |
Nationality | Australian |
Citizenship | Australian and American (dual) |
Occupation | Actress, singer, producer[1] |
Years active | 1983–present |
Spouse | Tom Cruise (1990–2001) Keith Urban (2006–present) |
Children | 4 |
Relatives | Antonia Kidman (sister) |
Website | |
www.nicolekidmanofficial.com |
Nicole Mary Kidman, AC (born 20 June 1967) is an Australian actress, singer, film producer,[1] and humanitarian. Kidman began her career in 1983, starring in various Australian film and television productions until her breakthrough in the 1989 thriller Dead Calm. Following several films over the early 1990s, she came to worldwide recognition for her performances in Days of Thunder (1990), Far and Away (1992), and Batman Forever (1995). Kidman followed this with other successful films in the late 1990s. It was her performance in the musical, Moulin Rouge! (2001) which earned Kidman her second Golden Globe Award and first Academy Award nomination for Best Actress. Her performance as Virginia Woolf the following year in the drama film The Hours (2002) received critical acclaim and earned Kidman the Academy Award for Best Actress.
Kidman's other notable films include To Die For (1995), Eyes Wide Shut (1999), Cold Mountain (2003), The Interpreter (2005), and Australia (2008). Her performance in 2010's Rabbit Hole (which she also produced) earned Kidman further accolades including a subsequent Academy Award nomination for Best Actress. Kidman has been a Goodwill Ambassador for UNICEF since 1994[2] and for UNIFEM since 2006.[3] Kidman's work has earned her a Star on the Hollywood Walk of Fame, three Golden Globe Awards, one BAFTA, and an Academy Award. In 2006, Kidman was made a Companion of the Order of Australia, Australia's highest civilian honor,[4] and was also the highest-paid actress in the motion picture industry.[5] As a result of being born to Australian parents in Hawaii, Kidman has dual citizenship in Australia and the United States.[6]
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Kidman was born in Honolulu, Hawaii. Her parents were in the United States on educational visas at the time. Kidman can thus claim both U.S. and Australian citizenship.[7] Her father, Dr. Antony David Kidman, is a biochemist, clinical psychologist, and author, with an office in Lane Cove, Sydney, New South Wales, Australia.[8][9] Her mother, Janelle Ann (née Glenny), is a nursing instructor who edits her husband's books and was a member of the Women's Electoral Lobby. Kidman's ancestry includes Scottish and Irish.[10] At the time of Kidman's birth in 1967, her father was a graduate student at the University of Hawaii at Manoa. He soon after became a visiting fellow at the National Institute of Mental Health of the United States. Opposed to the War in Vietnam, which was causing social unrest in both Australia and the United States, Kidman's parents participated in anti-war protests while they were living in Washington, DC.[11] The family returned to Australia when Kidman was four and her parents now live on Sydney's North Shore. Kidman has a younger sister, Antonia Kidman, a journalist and TV presenter.
Kidman attended Lane Cove Public School and North Sydney Girls' High School. She was enrolled in ballet at three and showed her natural talent for acting in her primary and high school years.[12] Kidman revealed she was timid as a child, saying, "I am very shy – really shy – I even had a stutter as a kid, which I slowly got over, but I still regress into that shyness. So I don’t like walking into a crowded restaurant by myself; I don’t like going to a party by myself".[13] In 1984, her mother was diagnosed with breast cancer, which caused Kidman to temporarily halt her education and help provide for the family by working as a massage therapist at age 17.[12] She studied at the Victorian College of the Arts in Melbourne, Victoria, and at the Phillip Street Theatre in Sydney, with actress and friend Naomi Watts who had attended the same high school as she did.[12][14] This was followed by attending the Australian Theatre for Young People.[12] Here she took up drama, mime and performing in her teens, finding acting to be a refuge. Due to her fair skin and naturally red hair, the Australian sun forced the young Kidman to rehearse in halls of the theatre. A regular at the Phillip Street Theatre, she received both encouragement and praise to pursue acting full-time.[15]
In 1983, aged 16, Kidman made her film debut in the Australian holiday season favourite, Bush Christmas.[15] By the end of 1983, she had a supporting role in the television series Five Mile Creek and began gaining popularity in the mid-1980s after appearing in several film roles, including BMX Bandits, Watch the Shadows Dance, and the romantic comedy Windrider (1986), which earned Kidman attention due to her racy scenes. Also during the decade, she appeared in several Australian productions, including the soap opera A Country Practice and the miniseries Vietnam (1986). She also made guest appearances on Australian television programs and TV movies. She also appeared in Sesame Street.
In 1988, Kidman appeared in Emerald City, based on the play of the same name. The Australian film earned her an Australian Film Institute for Best Supporting Actress. After appearing in the Australian miniseries Bangkok Hilton, Kidman starred in Dead Calm (1989) as Rae Ingram, playing the wife of a naval officer. The thriller garnered strong reviews and brought Kidman to international recognition; Variety commented: "Throughout the film, Kidman is excellent. She gives the character of Rae real tenacity and energy."[16] Meanwhile, critic Roger Ebert noted the excellent chemistry between the leads, stating, "Kidman and Zane do generate real, palpable hatred in their scenes together."[17] She moved on to star alongside her then-boyfriend and future husband, Tom Cruise, in the 1990 auto racing film Days of Thunder, playing a young doctor who falls in love with a NASCAR driver. This was Kidman's American debut and was among the highest-grossing films of the year.[18]
In 1991, she co-starred with former classmate and friend Naomi Watts and Thandie Newton in the independent film Flirting. Kidman and Watts portrayed two high school girls in this coming of age story, which won the Australian Film Institute Award for Best Film.[19] That same year, her work in the film Billy Bathgate earned Kidman her first Golden Globe Award nomination, for Best Supporting Actress. The New York Times, in its film review, called her "a beauty with, it seems, a sense of humor".[20] The following year, she and Cruise re-teamed for Ron Howard's Irish epic Far and Away (1992), which was a modest critical[21][22] and commercial[23] success. In 1993, she starred in My Life opposite Michael Keaton and the thriller, Malice opposite Alec Baldwin.
In 1995, Kidman appeared in her highest-grossing live-action film as of 2011,[24] playing Dr. Chase Meridian, the damsel in distress, in the superhero film Batman Forever, opposite Val Kilmer as the film's title character. That same year Kidman appeared in Gus Van Sant's critically acclaimed To Die For, earning praise for her portrayal of murderous newscaster Suzanne Stone Maretto.[25][26]
Kidman next appeared in The Portrait of a Lady (1996), based on the novel the same name, alongside, Barbara Hershey, John Malkovich and Mary-Louise Parker. The following year she appeared in the action-thriller The Peacemaker (1997) as White House nuclear expert Dr. Julia Kelly, opposite George Clooney. The film received mixed reviews but grossed some $110,000,000 worldwide.[27][28] That same year she appeared opposite Sandra Bullock in the poorly received fantasy Practical Magic as a modern-day witch.[29] Kidman returned to her work on stage the same year in the David Hare play The Blue Room, which opened in London.
In 1999, Kidman reunited with then husband, Tom Cruise, to portray a married couple in Eyes Wide Shut, the final film of Stanley Kubrick. The film opened to generally positive reviews but was subject to censorship controversies due to the explicit nature of its sex scenes.[30] The film received further attention following Kubrick's death shortly before its release. After brief hiatus and a highly publicized divorce from Cruise,[31] Kidman returned to the screen to play a mail-order bride in the British-American drama Birthday Girl.
In 2001, Kidman appeared in two of her most critically and commercially successful films. In the first she played the cabaret actress and courtesan Satine in Baz Luhrmann's musical Moulin Rouge!, opposite Ewan McGregor. Subsequently, Kidman received her second Golden Globe Award, for Best Actress in a Motion Picture Musical or Comedy, as well as other acting awards. She also received her first Academy Award nomination, for Best Actress. Also in 2001, she had a well-received starring role in Alejandro Amenábar's Spanish horror film The Others as Grace Stewart. Grossing over $210,947,037 worldwide, the film also earned several Goya Awards award nominations, including a Best Actress nomination for Kidman. Additionally she received her second BAFTA and fifth Golden Globe nominations.[citation needed]
In 2003, Kidman won critical praise for her portrayal of Virginia Woolf in Stephen Daldry's The Hours, which also featured Meryl Streep and Julianne Moore. Kidman wore prosthetics that were applied to her nose making her almost unrecognisable playing the author during her time in 1920s England, and her bouts with depression and mental illness while trying to write her novel, Mrs. Dalloway. The film earned positive notices and several nominations, including for an Academy Award for Best Picture. The New York Times wrote that, "Kidman tunnels like a ferret into the soul of a woman besieged by excruciating bouts of mental illness. As you watch her wrestle with the demon of depression, it is as if its torment has never been shown on the screen before. Directing her desperate, furious stare into the void, her eyes not really focusing, Ms. Kidman, in a performance of astounding bravery, evokes the savage inner war waged by a brilliant mind against a system of faulty wiring that transmits a searing, crazy static into her brain".[32] Kidman won numerous critics' awards, including her first BAFTA, third Golden Globe, and the Academy Award for Best Actress. As the first Australian actress to win an Academy Award, Kidman made a teary acceptance speech about the importance of art, even during times of war, saying, "Why do you come to the Academy Awards when the world is in such turmoil? Because art is important. And because you believe in what you do and you want to honour that, and it is a tradition that needs to be upheld."[33]
Following her Oscar win, Kidman appeared in three very different films in 2003. The first, a leading role in Dogville, by Danish director Lars von Trier, was an experimental film set on a bare soundstage. The second was an adaptation of Philip Roth's novel The Human Stain, opposite Anthony Hopkins. Her third film, Anthony Minghella's war drama Cold Mountain, was a critical and commercial success. Kidman appeared opposite Jude Law and Renée Zellweger, playing Southerner Ada Monroe, who is in love with Law's character and separated by the Civil War. TIME magazine wrote, "Kidman takes strength from Ada's plight and grows steadily, literally luminous. Her sculptural pallor gives way to warm radiance in the firelight".[34] The film garnered several award nominations and wins for its actors; Kidman received her sixth Golden Globe nomination at the 61st Golden Globe Awards for Best Actress.
In 2004 she appeared in the film, Birth, which received controversy over a scene in which Kidman shares a bath with her co-star, 10-year old Cameron Bright. At a press conference at the Venice Film Festival, Kidman addressed the controversy saying, "It wasn't that I wanted to make a film where I kiss a 10-year-old boy. I wanted to make a film where you understand love".[35] Though the film received negative to mixed reviews, Kidman earned her seventh Golden Globe nomination, for Best Actress – Motion Picture. That same year she appeared in the black comedy-science-fiction film The Stepford Wives, a remake of the 1975 film of the same name. Kidman appeared in the lead role as Joanna Eberhart, a successful producer. The film, directed by Frank Oz, was critically panned and a commercial failure. The following year, Kidman appeared opposite Sean Penn in the Sydney Pollack thriller The Interpreter, playing UN translator Silvia Broome. Also that year she starred in Bewitched, based on the 1960s TV sitcom of the same name, opposite Will Ferrell. Both Kidman and Ferrell earned that year's Razzie Award for "Worst Screen Couple". Neither film fared well in the United States, with box office sales falling well short of the production costs, but both films fared well internationally.[36][37]
In conjunction with her success in the film industry, Kidman became the face of the Chanel No. 5 perfume brand. She starred in a campaign of television and print ads with Rodrigo Santoro, directed by Moulin Rouge! director Baz Luhrmann, to promote the fragrance during the holiday seasons of 2004, 2005, 2006, and 2008. The three-minute commercial produced for Chanel No. 5 made Kidman the record holder for the most money paid per minute to an actor after she reportedly earned US$12million for the three-minute advert.[38] During this time, Kidman was also listed as the 45th Most Powerful Celebrity on the 2005 Forbes Celebrity 100 List. She made a reported US$14.5 million in 2004–2005. On People magazine's list of 2005's highest paid actresses, Kidman was second behind Julia Roberts, with US$16–17 million per-film price tag.[39] Nintendo in 2007 announced that Kidman would be the new face of Nintendo's advertising campaign for the Nintendo DS game More Brain Training in its European market.[40]
Kidman portrayed photographer Diane Arbus in the biography Fur (2006), opposite Robert Downey Jr.. Though the film was released to mixed reviews, both Kidman and Downey Jr. received praise for their performances. She also lent her voice to the animated film Happy Feet (2006), which grossed over US$384 million worldwide. In 2007, she starred in the science-fiction movie The Invasion directed by Oliver Hirschbiegel, a remake of the 1956 Invasion of the Body Snatchers that proved a critical and commercial failure. She also played opposite Jennifer Jason Leigh and Jack Black in Noah Baumbach's comedy-drama Margot at the Wedding, released to positive reviews and earning Kidman a Satellite Award nomination for Best Actress – Musical or Comedy. She then starred in the commercially successful fantasy-adventure, The Golden Compass (2007), playing the villainous Marisa Coulter. In 2008, she reunited with Moulin Rouge! director Baz Luhrmann in the Australian period film Australia, set in the remote Northern Territory during the Japanese attack on Darwin during World War II. Kidman played opposite Hugh Jackman as an Englishwoman feeling overwhelmed by the continent. Despite the film's mixed reviews, the acting was praised and the movie was a box office success worldwide.[41] Kidman was originally set to star in the post-World War II German drama, The Reader, working with previous collaborators Sydney Pollack and Anthony Minghella, but due to her pregnancy prior to filming she had to back out.[42] The role went to Kate Winslet, who ultimately won the Oscar for Best Actress, which Kidman presented to her during the 81st Academy Awards.
Kidman appeared in the 2009 Rob Marshall musical Nine, portraying the Federico Fellini-like character's muse, Claudia Jenssen. She was featured alongside fellow Oscar winners Daniel Day-Lewis, Judi Dench, Marion Cotillard, Penélope Cruz and Sophia Loren. Kidman's, whose screen time was brief compared to the other actresses, performed the musical number "Unusual Way" alongside Day-Lewis. Although the film was released to mixed reviews, it received several Golden Globe and Academy Award nominations, and earned Kidman a third Screen Actors Guild Award nomination, as part of the Outstanding Cast. Also in 2009, Kidman was the face of an international Schweppes advertisement.[43] In 2010, she starred with Aaron Eckhart in the film adaptation of the Pulitzer Prize-winning play Rabbit Hole, for which she vacated her role in the Woody Allen picture You Will Meet A Tall Dark Stranger.[44] She lent her voice to a promotional video that Australia used to support its bid to host the 2018 World Cup. The five-minute video was broadcast at the 2010 World Cup in South Africa.[45]
TV Guide reported in 2008 that Kidman will star in The Danish Girl, a film adaptation of the novel of the same name, playing Lili Elbe, the world's first postoperative transsexual.[46] Screen Daily reported that shooting would begin in Germany in July 2011.[47] However the project has been delayed following the exit of the director, Lasse Hallström and Kidman's co-star Rachel Weisz.[48] In 2009, Variety said that she would produce and star in a film adaptation of the Chris Cleave novel Little Bee, in association with BBC Films.[49][50]
In June 2010, TV Guide announced that Kidman and Clive Owen will star in an HBO film about Ernest Hemingway and his relationship with Martha Gellhorn. entitled Hemingway & Gellhorn. The film, directed by Philip Kaufman,[51] began shooting in March 2011, with an air date scheduled for 2012.[52] She also stars alongside Nicolas Cage in director Joel Schumacher's action-thriller Trespass, with the stars playing a married couple taken hostage.[53]
On 17 September 2010, ContactMusic. com said Kidman will return to Broadway to portray Alexandra Del Lago in David Cromer's revival of Tennessee Williams' Sweet Bird of Youth, with Scott Rudin producing[54] On 30 August 2011 Cromer spoke to the The New York Times and explained that the production will not meet its original fall 2011 revival date but that it remains an active project.[55] In February 2011, the Los Angeles Times reported Kidman is in talks to join the cast of Park Chan Wook's Stoker.[56] In May 2011 it was reported that Kidman would star and produce in Spectre, a supernatural thriller directed by James Wan. The film closed major territory deals at the 2011 Cannes Film Festival.[57] In June Kidman was cast in Lee Daniels' upcoming adaptation of the Pete Dexter novel, The Paperboy[58] and began filming the thriller on 1 August 2011.[59] On 2 November 2011, The Hollywood Reporter reported that Kidman is attached to star in My Wild Life, a Philip Noyce-directed biopic of conservationist, Daphne Sheldrick. Production for the project is scheduled for the first quarter of 2012.[60]
In April 2012, various sources, including Variety, announced that Kidman was in talks to star in upcoming Grace Kelly biopic Grace of Monaco. The film will focus on the 1962 crisis, in which Charles de Gaulle blockaded the tiny principality, angered by Monaco's status as a tax haven for wealthy French subjects.[61]
Her collaboration with Ewan McGregor on "Come What May" peaked at No.27 in the UK Singles Chart.[62] Later she collaborated with Robbie Williams on "Somethin' Stupid", a cover of Williams' swing covers album Swing When You're Winning. It peaked at No.8 in the Australian ARIAnet Singles Chart, and at No.1 for three weeks in the UK.[63]
In 2006, while voicing a role in the animated movie Happy Feet, she provided vocals for Norma Jean's "heartsong", a slightly altered version of "Kiss" by Prince.[citation needed] Kidman sang in Rob Marshall's movie musical Nine.
Kidman has been married twice, first to actor Tom Cruise, and then to singer Keith Urban. She has an adopted son and daughter with Cruise, as well as two biological daughters with Urban.
She met Cruise in November 1989 on the set of their 1990 movie Days of Thunder. Kidman and Cruise were married on Christmas Eve 1990 in Telluride, Colorado. The couple adopted a daughter, Isabella Jane (born 22 December 1992),[64] and a son, Connor Anthony (born 17 January 1995).[64] On February 5, 2001, the couple's spokesperson announced their separation.[65] Cruise filed for divorce two days later, and the marriage was dissolved in August of that year, with Cruise citing irreconcilable differences.[66] Kidman was three months pregnant at the time; shortly afterward, she suffered a miscarriage.[67] In Marie Claire, Kidman said she had an ectopic pregnancy early in their marriage.[68] In the June 2006 Ladies' Home Journal, she said she still loved Cruise: "He was huge; still is. To me, he was just Tom, but to everybody else, he is huge. But he was lovely to me and I loved him. I still love him." In addition, she has expressed shock about their divorce.[69]
Prior to marrying Cruise, Kidman cohabited with Australian stage actor Marcus Graham in the late 1980s.[70] In the mid-1980s, Kidman dated her Windrider co-star Tom Burlinson,[71][72] with whom she lived with on and off for three years, according to biographer Andrew Morton.[73] She dated musician Lenny Kravitz from 2003 to 2004.[74] Robbie Williams stated that he had a short romance with Kidman on her yacht during the summer of 2004. In a 2007 interview, Kidman revealed that she was secretly engaged to someone between her marriages to Cruise and Urban, but did not identify who.[75]
Kidman met her second husband, New Zealand country singer Keith Urban, at G'Day LA, an event honouring Australians, in January 2005. They married on 25 June 2006, at Cardinal Cerretti Memorial Chapel in the grounds of St Patrick's Estate, Manly in Sydney.[76][77] They maintain homes in Sydney, Sutton Forest, New South Wales, Los Angeles, California,[78] and Nashville, Tennessee.[79] The couple's daughter, Sunday Rose Kidman Urban, was born on 7 July 2008, in Nashville.[80] Kidman's father said the daughter's middle name was after Urban's late grandmother, Rose.[81] On 28 December 2010, Kidman and Urban welcomed his second daughter and her third daughter, Faith Margaret Kidman Urban, via gestational carrier[82] at Nashville's Centennial Women's Hospital. The child is biologically Kidman and Urban's. Faith's middle name is after Kidman's late grandmother.[83][84]
Kidman is a practicing Roman Catholic.[85] She attended Mary Mackillop Chapel in North Sydney. Following criticism of The Golden Compass by Catholic leaders[86] as anti-Catholic,[87] Kidman told Entertainment Weekly that "the Catholic Church is part of her 'essence'", and that her religious beliefs would prevent her from taking a role in a film she perceives as anti-Catholic.[88]
During her divorce from Tom Cruise, she stated that she did not want their children raised as Scientologists.[89] She has been reluctant to discuss Scientology since her divorce.[90]
Kidman has donated to U.S. Democratic party candidates.[91]
In 2002, Kidman first appeared on the Australian rich list published annually in the Business Review Weekly with an estimated net worth of A$122 million.[92] In the 2011 published list, Kidman's wealth was estimated at A$304 million, down from A$329 million in 2010.[93]
Kidman has raised money for, and drawn attention to, disadvantaged children around the world. In 1994, she was appointed a goodwill ambassador for UNICEF,[2] and in 2004, she was honoured as a "Citizen of the World" by the United Nations.[citation needed] Kidman joined the Little Tee Campaign for breast cancer care to design T-shirts or vests to raise money to fight the disease;[94] motivated by her mother's own battle with breast cancer in 1984.[95]
On Australia Day 2006, Kidman received Australia's highest civilian honor when she was made a Companion of the Order of Australia. The citation acknowledged Kidman's service to the performing arts as an acclaimed motion picture performer, to health care through contributions to improve medical treatment for women and children and advocacy for cancer research, to youth as a principal supporter of young performing artists, and to humanitarian causes in Australia and internationally.[96]
Kidman was appointed goodwill ambassador of the United Nations Development Fund for Women (UNIFEM) in 2006.[2] In this capacity, Kidman has addressed international audiences at UN events, raised awareness through the media and testified before the United States House of Representatives Committee on Foreign Affairs to support the International Violence against Women Act. Kidman visited Kosovo in 2006 to learn about women's experiences of conflict and UNIFEM's support efforts. She is the international spokesperson for UNIFEM's Say NO – UNiTE to End Violence against Women initiative.[97] Kidman and the UNIFEM executive director presented over five million signatures collected during the first phase of this to the UN Secretary-General on 25 November 2008.[98]
In the beginning of 2009, Kidman appeared in a series of postage stamps featuring Australian actors. She, Geoffrey Rush, Russell Crowe, and Cate Blanchett each appear twice in the series: once as themselves and once as their Academy Award-winning character.[99] On 8 January 2010, Kidman, alongside Nancy Pelosi, Joan Chen and Joe Torre, attended the ceremony to help Family Violence Prevention Fund break ground on a new international center located in the Presidio of San Francisco.[100][101]
As of November 2010[update], Kidman's movies have grossed more than $2 billion (US), with 17 movies making more than $100 million.[102]
In 2003, Kidman received a Star on the Hollywood Walk of Fame. In addition to her 2003 Academy Award for Best Actress, Kidman has received Best Actress awards from the following critics' groups or award-granting organisations: the Hollywood Foreign Press (Golden Globes), the Australian Film Institute, Blockbuster Entertainment Awards, Empire Awards, Golden Satellite Awards, Hollywood Film Festival, London Critics Circle, Russian Guild of Film Critics, and the Southeastern Film Critics Association. In 2003, Kidman was given the American Cinematheque Award. She also received recognition from the National Association of Theatre Owners at the ShoWest Convention in 1992 as the Female Star of Tomorrow and in 2002 for a Distinguished Decade of Achievement in Film.
In 2006, Kidman was made a Companion of the Order of Australia (AC), Australia's highest civilian honour, for "service to the performing arts as an acclaimed motion picture performer, to health care through contributions to improve medical treatment for women and children and advocacy for cancer research, to youth as a principal supporter of young performing artists, and to humanitarian causes in Australia and internationally."[109] However, due to film commitments and her wedding to Urban, it was 13 April 2007 that she was presented with the honour.[110] It was presented by Governor-General of Australia, Major General Michael Jeffery in a ceremony at Government House, Canberra.[111]
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Coco Chanel | |
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File:Chanel.JPG Coco Chanel, 1920 |
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Born | Gabrielle Bonheur Chanel 19 August 1883 Saumur, France |
Died | 10 January 1971 Paris, France |
(aged 87)
Nationality | French |
Education | Catholic Monastery in Aubazine |
Occupation | Fashion designer |
Awards | Neiman Marcus Fashion Award, 1957 |
Labels | Chanel |
Gabrielle "Coco" Bonheur Chanel (19 August 1883 – 10 January 1971)[1] was an influential French fashion designer, founder of the famous brand Chanel, whose modernist thought, practical design, and pursuit of expensive simplicity made her an important and influential figure in 20th-century fashion. She was the only fashion designer to be named on Time 100: The Most Important People of the Century.[2]
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Gabrielle Chanel was born to an unwed mother, Jeanne Devolle, a laundrywoman, in "the charity hospital run by the Sisters of Providence"[3] in Saumur, France. She was Devolle's second daughter. The father, Albert Chanel was an itinerant street peddler who 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, in 1884,[4] after Jeanne's family "united, effectively, to pay Albert to marry her".[5] At birth Chanel’s name was entered into the official registry as “Chasnel.” Jeanne was too unwell to attend the registration and Albert was registered as "travelling".[3] With both parents absent, Gabrielle's last name was misspelt, probably due to a clerical error. The couple eventually had five other children: Julia-Berthe, (1882–1912), Antoinette (born 1887) and three brothers, Alphonse (born 1885 died 2001), Lucien (born 1889) and Augustin (born and died 1814).
In 1895, when Gabrielle was twelve years old, her mother died of bronchitis.[6] She was only thirty-one years old.[6] Gabrielle's father sent his two sons out to work as farm laborers and his three daughters to the Corrèze, in central France to the convent of Aubazine, whose religious order, the Congregation of the Sacred Heart of Mary, was "founded to care for the poor and rejected, including running homes for abandoned and orphaned girls".[7] It was a stark, frugal life demanding strict discipline. 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.[8]
Having learned the sewing 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, or an allusion to the French word for kept woman: cocotte.[8] As cafe entertainer, Chanel broadcast a juvenile allure and suggestion of a mysterious androgyny, tantalizing the military habitués of the cabaret.[8]
Later in life, she concocted an elaborate, fabricated history to cover up her humble beginnings 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 fruition, 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 claimed to have been born in 1893 as opposed to 1883, and that her mother had died when Coco was two instead of twelve.[9]
It was at Moulins that Chanel met a young, French, ex-cavalry officer, and wealthy textile heir Étienne Balsan. At age twenty-three, Chanel became Balsan’s mistress and for the next three years lived with him in his chateau Royallieu near Compiègne, an area known for its wooded equestrian paths and the hunting life.[10] It was a life style of self-indulgence, Balsan’s wealth and leisure allowing the cultivation of a social set who reveled in partying and 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 enterprise. Biographer Justine Picardie, in her 2010 study Coco Chanel: The Legend and the Life (Harper Collins), suggests that the fashion designer's nephew, André Palasse, supposedly the only child of her sister Julia- Berthe who had committed suicide, actually was Chanel's child by Balsan.
In 1908 Chanel began an affair with one of Balsan's friends, Captain Arthur Edward 'Boy' Capel.[11] In later years Chanel reminisced of this time in her life: “...two gentlemen were outbidding for my hot little body.” [12] Capel, a wealthy member of the English upper-class, installed Chanel in an apartment in Paris [13] and financed Chanel's first shops. It is said Capel's 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 lines of the Charvet toilery bottles he carried in his leather traveling case [14] 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.” [15] The couple spent time together at fashionable resorts such as Deauville, but he was never faithful to Chanel.[16] 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 Chanel's life.[17] She commissioned the placement of a roadside memorial at the site of the accident, which she visited in later years to lay flowers in remembrance.[18] 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 Capel, I lost everything. What followed was not a life of happiness I have to say." [19]
Chanel became a licensed modiste (hat maker) in 1910 and opened a boutique at 21 rue Cambon, Paris named Chanel Modes.[20] Chanel's modiste career bloomed once theatre actress Gabrielle Dorziat modelled her hats in the F Noziere's play Bel Ami in 1912 (Subsequently, Dorziat modelled her hats again in Les Modes).[20] In 1913, she established a boutique in Deauville, where she introduced luxe casual clothes that were suitable for leisure and sport.[20] Chanel launched her career as fashion designer when she opened her next boutique, titled Chanel-Biarritz, in 1915,[20] catering to the wealthy Spanish clientele who holidayed in Biarritz and were less affected by the war.[21] Fashionable like Deauville, Chanel created loose casual clothes made out of jersey, a material typically used for men's underwear.[20] By 1919, Chanel was registered as a couturiere and established her maison de couture at 31 rue Cambon.[20]
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 (“The 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. [22] In addition to turning out her couture collections, Chanel threw her prodigious energies into designing dance costumes for the cutting-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, Orphée and Oedipe Roi. [23]
In 1924, Chanel made an agreement with the Wertheimer brothers, Pierre and Paul, directors of the eminent 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 involvement in all business operations.[24] Displeased with the arrangement, Chanel worked for more than twenty years to gain full control of "Parfums Chanel."[24] She proclaimed that Pierre Wertheimer was “the bandit who screwed me.”[25]
One of Chanel’s longest and enduring associations was with Misia Sert, a notorious member of the Parisian, bohemian elite and wife of Spanish painter José-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.” [26] Both women, 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.[27] According to Chandler Burr's The Emperor of Scent, Luca Turin related an apocryphal story in circulation that Chanel was "called Coco because she threw the most fabulous cocaine parties in Paris" [28]
In 1923, Vera Bate Lombardi, born Sarah Gertrude Arkwright,[29] reputedly the illegitimate daughter of the Marquess of Cambridge,[29] afforded Chanel entry into the highest levels of British aristocracy. 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 wealthy 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 villa, La Pausa.[30] His affair with Chanel lasted ten years.[31] The Duke, an outspoken anti-Semite, intensified Chanel’s inherent antipathy toward Jews and shared with her an expressed homophobia. In 1946, Chanel is quoted by her friend and confidante, Paul Morand: “Homosexuals? ...I have seen young women 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 women—but they are lousy women. They are charming!” [32] Coinciding with her introduction to the Duke, was her introduction, again through Lombardi, to Lombardi's 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 closest 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.” [33]
It was in 1931 while in Monte Carlo that Chanel made the acquaintance 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 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 arrangement to "see what the pictures have to offer me and what I have to offer the pictures."[34] 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.” [35] Chanel's verdict was that: "Hollywood is the capital of bad taste...and it is vulgar."[36] Ultimately, her design aesthetic did not translate well to film. The New Yorker speculated that Chanel had left Hollywood because "they told her her dresses weren't sensational enough. She made a lady look like a lady. Hollywood wants a lady to look like two ladies."[37] Chanel went on to design the costumes for several French films, including Jean Renoir's 1939 film La Règle du jeu where she was credited as La Maison Chanel. Left-wing Renoir was a friend of Chanel's – it was Chanel who introduced him to Luchino Visconti. Knowing that the shy Italian count wanted to work in film, Chanel introduced him to Renoir, who liked him and had him work with him on his next film.[38]
Chanel was the mistress of some of the most influential men of her 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.[39] Her involvement with Iribe was a deep one until his sudden death in 1935. Iribe and Chanel shared the same reactionary politics, Chanel financing Iribe's monthly, ultra-nationalist and anti-republican newsletter, Le Témoin, which fueled an irrational fear of foreigners and preached anti-Semitism.[40][41] One year after Le Témoin stopped publication, however, in 1936, Chanel also financed Pierre Lestringuez's radical left-wing magazine Futur[42].
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."[43]
Chanel was, "the first [designer] to show black dresses to be worn at any time." [44]
As the 1930s progressed, Chanel’s place on the throne of haute couture came under threat. The boyish look and the short skirts of the 1920s flapper seemed to disappear overnight. Chanel’s designs for film stars in Hollywood had met with failure, and had not aggrandized her reputation as expected. More significantly, Chanel’s star had been eclipsed by her premier rival, the designer, Elsa Schiaparelli. Schiaparelli’s innovative 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 critically lambasted: “Wrapped in bandages the actors looked like ambulant mummies or victims of some terrible accident.” [45]
In 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 it was not a time for fashion.[21] Three thousand female employees lost their jobs.[46] 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 1936. 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 were a Bolshevik threat to Europe.[46] 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 Günther von Dincklage, a German officer who had been an operative in military intelligence since 1920,[47] facilitated her arrangement to reside at the Ritz.[48]
World 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 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 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.[49] “I have,” she wrote, “an indisputable right of priority...the profits that I have received from my creations since the foundation of this business...are disproportionate...[and] you can help to repair in part the prejudices I have suffered in the course of these seventeen years.”[50] Chanel was not aware that the Wertheimers, anticipating the forthcoming Nazi mandates against Jews had, in May 1940, legally turned control of “Parfums Chanel” over to a Christian, French businessman and industrialist, Felix Amiot.[49]
Ultimately, the Wertheimers and Chanel came to a mutual accommodation, re-negotiating the original 1924 contract. On May 17, 1947, Chanel received wartime profits from the sale of Chanel No. 5, in an amount equivalent to some nine million dollars in twenty-first century valuation. Further, her future share would be two percent of all Chanel No. 5 sales worldwide. The financial benefit to her would be enormous. Her earnings would be in the vicinity of twenty-five million dollars a year, making her at the time one of the richest women in the world. In addition, Pierre Wertheimer agreed to an unusual stipulation proposed by Chanel herself. Wertheimer agreed to pay all of Chanel’s living expenses— from the trivial to the large— for the rest of her life.[51][52]
Archival documents unearthed by Hal Vaughan reveal that the French Préfecture de Police had a document on Chanel in which she was described as 'Couturier and perfumer. Pseudonym: Westminster. Agent reference: F 7124. Signalled as suspect in the file" (Pseudonyme: Westminster. Indicatif d'agent: F 7124. Signalée come suspecte au fichier").[53] Vaughan concludes from this that Chanel acted as a Nazi spy, although this has been the subject of controversy.[54] Anti-Nazi activist Serge Klarsfeld thus declared that "It is not because Chanel had a spy number that she was necessarily personally implicated. Some informers had numbers without being aware of it." ("Ce n'est pas parce Coco Chanel avait un numéro d'espion qu'elle était nécessairement impliquée personnellement. Certains indicateurs avaient des numéros sans le savoir").[55] Vaughan believes that Chanel committed herself to the German cause as early as 1941 and worked for General Walter Schellenberg, chief of SS intelligence.[56] At war’s end, Schellenberg was tried by the Nuremberg Military Tribunal, and sentenced to six years imprisonment for war crimes. He was released in 1951 due to incurable liver disease, and took refuge in Italy. Chanel paid for Schellenberg’s medical care and living expenses for himself, wife and family until his death in 1952 (She also paid for his funeral).[57]
In 1943, Chanel traveled to Berlin with Dinklage to meet with SS Reichsführer, Heinrich Himmler to formulate strategy.[56] In late 1943 or early 1944, Chanel and her SS master, Schellenberg, devised a plan to press England to end hostilities with Germany. When interrogated by British intelligence at war’s end, Schellenberg maintained that Chanel was “a person who knew Churchill sufficiently to undertake political negotiations with him.” [58] For this mission, named “Operation Modellhut,” (“Model Hat”) they recruited Vera Lombardi. Count Joseph von Ledebur-Wicheln, a Nazi agent, who defected to the British Secret Service in 1944, recalled a meeting he had with Dinklage in early 1943. Dinklage proposed an inducement that would tantalize Chanel. He informed von Ledebur that Chanel's participation in the operation would be ensured if Lombardi was included: “The Abwehr had first to bring to France a young Italian woman [Lombardi] Coco Chanel was attached to because of her lesbian vices...”[59] Unaware of the machinations of Schellenberg and her old friend Chanel, Lombardi played the part of their unwitting dupe, led to believe that the forthcoming journey to Spain would be a business trip exploring the possibilities of establishing the Chanel couture in Madrid. Lombardi's role was to act as intermediary, delivering a letter penned by Chanel to Winston Churchill, and forwarded to him via the British embassy in Madrid.[60] Schellenberg’s SS laison officer, Captain Walter Kutcschmann, acted as bagman, “told to deliver a large sum of money to Chanel in Madrid.”[61] Ultimately, the mission proved a failure. British intelligence files reveal that all collapsed, as Lombardi, on arrival, proceeded to denounce Chanel and others as Nazi spies.[62]
In September 1944, Chanel was called in to be interrogated by the Free French Purge Committee, the épuration. The committee, which had no documented evidence of her collaboration activity, was obliged to release her. According to Chanel’s grand-niece, Gabrielle Palasse Labrunie, when Chanel returned home she said, “Churchill had me freed”. [63]
The extent of Winston Churchill’s intervention can only be speculated upon. However, Chanel’s escape from prosecution certainly speaks of layers of conspiracy, protection at the highest levels. It was feared that if Chanel were ever made to testify at trial, the pro-Nazi sympathies and activities of top-level British officials, members of the society elite and those of the royal family itself would be exposed. It is believed that Churchill instructed Duff Cooper, British ambassador to the French provisional government, to “protect Chanel”. [64]
Finally induced to appear in Paris before investigators in 1949, Chanel left her retreat in Switzerland to confront testimony given against her at the war crime trial of Baron Louis de Vaufreland, a French traitor and highly placed German intelligence agent. Chanel denied all accusations brought against her. She offered the presiding judge, Leclercq, a character reference: “I could arrange for a declaration to come from Mr. Duff Cooper.” [65]
Chanel’s friend and biographer Marcel Haedrich provided a telling estimation of her wartime interaction with the Nazi regime: “If one took seriously the few disclosures that Mademoiselle Chanel allowed herself to make about those black years of the occupation, one’s teeth would be set on edge.”[66]
In 1945, she moved to Switzerland, eventually returning to Paris in 1954, the same year she returned to the fashion world.[21] The re-establishment of her couture house in 1954 was fully financed by Chanel’s old nemesis in the perfume battle, Pierre Wertheimer. [67] Her new collection was not received well by Parisians whose memory of Chanel's treasonous collaboration with the Nazis still resonated in the public mind. However, her return to couture was applauded by the British and Americans, who became her faithful customers.[68]
In early 1971 Chanel, then 87-years old, was tired and ailing but continued to adhere to her usual schedule, overseeing the preparation of the spring collection. She died on Sunday, January, 10th at the Hotel Ritz where she had resided for more than thirty years.[69] She had gone for a long drive that afternoon and, not feeling well, had retired early to bed.[70]
As early as 1915, Harper's Bazaar raved over Chanel’s designs: “The woman who hasn’t at least one Chanel is hopelessly out of fashion...This season the name Chanel is on the lips of every buyer.” [71] Chanel’s ascendancy as a fashion avatar was the official deathblow to the corseted female silhouette. The frills, fuss, and constraints endured by earlier generations of women were now passé. Her genius redefined the fashionable woman for the post WW I era. The Chanel trademark was a look of youthful ease, a liberated physicality, and unencumbered sportive confidence.
The horse culture and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel’s imagination. Her own enthusiastic indulgence in the sporting life led to clothing designs informed by those activities. From her excursions on water with the yachting world, she appropriated the clothing associated with nautical pursuits: the horizontal striped shirt, bell bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen.[72]
Designers such as Paul Poiret and Fortuny introduced ethnic references into haute couture in the 1900s and early 1910s.[73] Chanel continued this trend with Slav-inspired designs in the early 1920s. The beading and embroidery on her garments at this time was exclusively executed by Kitmir, an embroidery house founded by an exiled Russian aristocrat, the Grand Duchess Maria Pavlovna, the sister of her erstwhile lover, Grand Duke Dmitri Pavlovich.[74][75] Kitmir's fusion of oriental stitching with stylised folk motifs was highlighted in Chanel's early collections.[75] One 1922 evening dress came with a matching embroidered 'babushka' headscarf.[75] In addition to the headscarf, Chanel clothing from this period featured square-necked tunic tops and elbow length sleeves alluding to Russian peasant attire, with chenille cloche hats for day wear. Evening designs were often embroidered with sparkling crystal and black jet embroidery.[76]
Her initial triumph was the innovative use of jersey fabric, a material traditionally relegated to the manufacture of undergarments. Her wool jersey traveling suit consisted of a cardigan jacket, and pleated skirt, paired with a low-belted pullover top. This ensemble, worn with low-heeled shoes, became the casual look in expensive women’s wear.[77]
The concept of the “little black dress,” is often cited as a Chanel contribution to the fashion lexicon and as an article of clothing survives to this day. Its first incarnation was executed in thin silk, crèpe de chine, and had long sleeves.[78] Upon its conception, it was lauded as a fashion-forward look—a spare sexiness that resonated with the young, fashionable woman of the 1920s.[citation needed] An unadorned garment of this cut also served as the perfect foil for accessories—belts and particularly ropes of pearls, and jewelry worn in dramatic arrays.[citation needed]
Ever the canny innovator, Chanel turned unenviable costume jewelry into a coveted accessory—especially when worn in excess displays, as did Chanel herself. Originally inspired by the opulent, costly jewels and pearls gifted to her by her aristocratic lovers, Chanel raided her own jewel vault and partnered with Duke Fulco di Verdura to launch a House of Chanel jewelry line. The fashionable and wealthy loved the creations and made it wildly successful. Ever the oracle for the modern, society elite, Chanel put forth her own disingenuous PR statement delivered in the inevitable dictatorial manner: “It’s disgusting to walk around with millions around the neck because one happens to be rich. I only like fake jewelry...because it’s provocative.”[79]
The first film about Chanel was Chanel Solitaire (1981), directed by George Kaczender and starring Marie-France Pisier, Timothy Dalton, and Rutger Hauer.
The American television movie Coco Chanel debuted on 13 September 2008 on Lifetime Television, starring Shirley MacLaine as a 70-year-old Chanel. Directed by Christian Duguay, the film also starred Barbora Bobulova as the young Chanel, Olivier Sitruk as Boy Capel, and Malcolm McDowell. The movie substantially rewrote Chanel's personal history, such as its portrayal of her status as a professional mistress as instead a series of "love stories," and glossing over both her Nazi collaboration and her use of British Royal connections to avoid post-war trial as a collaborator.
A film starring Audrey Tautou as the young Coco, titled Coco avant Chanel (Coco Before Chanel), was released on 22 April 2009. Audrey Tautou is the new spokeswoman of Chanel S.A.
The film Coco Chanel & Igor Stravinsky, directed by Jan Kounen and starring Anna Mouglalis and Mads Mikkelsen, concerns the purported affair between Chanel and Igor Stravinsky. The film is based on the 2002 novel Coco & Igor by Chris Greenhalgh, and was chosen to close the Cannes Film Festival of 2009.[80] Two more projects are said to be in the works, including one directed by Daniele Thompson.[81]
Coco & Igor is a novel, written by Chris Greenhalgh, which depicts the affair between Chanel and Igor Stravinsky and the creative achievements that this affair inspired. The novel was first published in 2003.
In 2008 a children's book entitled Different like Coco was published. It depicted the humble childhood of Coco Chanel and chronicled how she made drastic changes to the fashion industry.
The Gospel According to Coco Chanel: Life Lessons from the World's Most Elegant Woman is a novel written by Karen Karbo. Published in 2009, it chronicles the humble beginnings and legendary achievements of Coco Chanel while providing insight and advice on everything from embracing the moment to living life on your own terms.
The Broadway musical Coco, music by Andre Previn, book and lyrics by Alan Jay Lerner, opened 18 December 1969 and closed 3 October 1970. It is set in 1953–1954 at the time that Chanel was reestablishing her couture house. Chanel was played by Katharine Hepburn for the first eight months, and by Danielle Darrieux for the rest of its run.
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Karl Lagerfeld | |
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Lagerfeld at the Red Cross Ball in Monaco, August 2005 |
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Born | Hamburg, Germany |
10 September 1933
Residence | France |
Nationality | German |
Occupation | Fashion designer |
Labels | Karl Lagerfeld (since 1974,various brands)[1] Chanel (since 1983)[2] Fendi (since 1965),[3] Chloe (1963–1978, 1992–1997),[4] Jean Patou (1958–1963),[1] H&M (2004), Hogan (2011) |
Karl Lagerfeld (born Karl Otto Lagerfeldt on 10 September 1933 in Hamburg) is a German fashion designer, artist and photographer based in Paris. He has collaborated on a variety of fashion and art related projects, most notably as head designer and creative director for the fashion house Chanel. Lagerfeld has his own label fashion house, as well as the Italian house Fendi.
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Lagerfeld was born in Hamburg. He has claimed he was born in 1938, by Elisabeth (born Bahlman) and his Swedish father Otto Lagerfeldt.[5] He is known to insist that no-one knows his real birth date: Interviewed on French television in February 2009, Lagerfeld said that he was "born neither in 1933 nor 1938."[6] His older sister, Martha Christiane (a.k.a. Christel), was born in 1931. Lagerfeld also has an older half-sister, Thea, from his father's first marriage. His original name was Lagerfeldt (with a "t"), but he later changed it to Lagerfeld as "it sounds more commercial."[7]
Lagerfeld grew up as the son of a wealthy businessman from Hamburg who was introducing condensed milk (Glücksklee-Milch GmbH) to Germany;[8][9] his mother is from Berlin.[10] According to Alicia Drake,[vague] Lagerfeld's mother, Elisabeth Bahlmann, was a lingerie saleswoman in Berlin when she met her husband and married him in 1930.
After attending a private school, Lagerfield finished his secondary education at the Lycée Montaigne in Paris, where he majored in drawing and history.[11]
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In 1955, at the age of 22, Lagerfeld was awarded a position as an apprentice at Pierre Balmain after winning second place, behind Yves Saint-Laurent, in a competition for a coat sponsored by the International Wool Secretariat. He told a reporter a few years later, "I won on coats, but actually I like designing coats least of all. What I really love are little black dresses." Yves Saint Laurent also won the contest for a dress award. "Yves was working for Dior. Other young people I knew were working for Balenciaga (Spanish Basque fashion designer and the founder of the Balenciaga fashion house), whom they thought was God, but I wasn't so impressed," he recalled in 1976.[citation needed]
In 1958, after three years at Balmain, he moved to Jean Patou where he designed two haute couture collections a year for five years. His first collection was shown in a two-hour presentation in July 1958, but he used the name Roland Karl, rather than Karl Lagerfeld (although in 1962, reporters began referring to him as Karl Lagerfelt or Karl Logerfeld). The first collection was poorly received. Carrie Donovan wrote that "the press booed the collection"[citation needed]. The UPI noted: "The firm's brand new designer, 25-year old Roland Karl, showed a collection which stressed shape and had no trace of last year's sack." The reporter went on to say that "A couple of short black cocktail dresses were cut so wide open at the front that even some of the women reporters gasped. Other cocktail and evening dresses feature low, low-cut backs." Most interestingly, Karl said that his design silhouette for the season was called by the letter "K" (for Karl), which was translated into a straight line in front, curved in at the waist in the back, with a low fullness to the skirt.
His skirts for the spring 1960 season were the shortest in Paris, and the collection was not well received. Carrie Donovan said it "looked like clever and immensely salable ready-to-wear, not couture." In his late 1960 collection he designed special little hats, pancake shaped circles of satin, which hung on the cheek. He called them "slaps in the face." Karl's collection were said to be well received, but not groundbreaking. "I became bored there, too, and I quit and tried to go back to school, but that didn't work, so I spent two years mostly on beaches – I guess I studied life."
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After launching himself as a freelance designer, working with brands such as Mario Valentino, Repetto, and the supermarket chain Monoprix and with financial backing from his family, he set up a small shop in Paris. At this time, he would often consult with Madame Zereakian, Christian Dior's Armenian fortune teller. Lagerfeld later said, "She told me I'd succeed in fashion and perfume."
In 1963, he began designing for Tiziani, a Roman couture house founded that year by Evan Richards (b. 1924) of Jacksboro, Texas. It began as couture and then branched out into ready-to-wear, bearing the label "Tiziani-Roma – Made in England." Lagerfeld and Richards sketched the first collection in 1963 together. "When they wound up with 90 outfits, Tiziani threw caution and invitations to the winds, borrowed Catherine the Great's jewels from Harry Winston, and opened his salon with a three-night wingding," according to one report in 1969. Lagerfeld designed for the company until 1969. Elizabeth Taylor was a fan of the label (she referred to Evan as "Evan Tiziani") and began wearing it in August 1966. Gina Lollobrigida, Doris Duke and Principessa Borghese were also customers while Lagerfeld was designing the line. He was replaced in 1969 with Guy Douvier.
Lagerfeld had begun to freelance for French fashion house Chloe in 1964, at first designing a few pieces a season. As more and more pieces were incorporated, he would soon design the entire collection. In 1970, he also began a brief design collaboration with Roman Haute Couture house Curiel (the designer, a woman named Gigliola Curiel, died in November 1969.) His first collection was described as having a "drippy drapey elegance" designed for a "1930s cinema queen." The Curiel mannequins all wore identical, short-cropped blonde wigs. He also showed black velvet shorts, to be worn under a black velvet ankle-length cape.
His Chloe collection for Spring 1973 (shown in October 1972) garnered headlines for offering something both "high fashion and high camp." He showed loose Spencer jackets and printed silk shirt jackets. He designed something he called a "surprise" skirt, which was ankle-length, pleated silk, so loose that it hid the fact it was actually pants. "It seems that wearing these skirts is an extraordinary sensation," he told a reporter at the time. He also designed a look inspired by Carmen Miranda, which consisted of mini bra dresses with very short skirts, and long dresses with bra tops and scarf shawls.
In 1972, he began to collaborate with Italian fashion house Fendi, designing furs, clothing and accessories.
Starting in the 1970s, Lagerfeld has occasionally worked as a costume designer for theatrical productions. He collaborated with stage directors such as Luca Ronconi and Jürgen Flimm, and designed for theatres like La Scala in Milan (Les Troyens by Hector Berlioz, 1980; directed by Ronconi), the Burgtheater in Vienna (Komödie der Verführung by Arthur Schnitzler, 1980; directed by Horst Zankl), and the Salzburg Festival (Der Schwierige by Hugo von Hofmannsthal, 1990; directed by Flimm).
At the time, he had also been maintaining a design contract with the Japanese firm Isetan, to create collections for both men and women through 30 licenses; had a lingerie line in the US, produced by Eve Stillmann; was designing shoes for Charles Jourdan, sweaters for Ballantyne, and worked with Trevira as a fashion adviser.
In 2002, Karl Lagerfeld asked Renzo Rosso, the founder of Diesel, to collaborate with him on a special denim collection for the Lagerfeld Gallery.[12] The collection, which was titled Lagerfeld Gallery by Diesel, was co-designed by Lagerfeld and then developed by Diesel's Creative Team, under the supervision of Rosso. It consisted of five pieces that were presented during the designer's catwalk shows during Paris Fashion Week[13] and then sold in very strict limited editions at the Lagerfeld Galleries in Paris and Monaco, and at the Diesel Denim Galleries in New York and Tokyo. During the first week of sales in New York, more than 90% of the trousers had already been sold out, even though prices ranged from as high as $240 to $1,840.[14] In a statement after the show in Paris, Rosso said "I am honored to have met this fashion icon of our time. Karl represents creativity, tradition and challenge, and the fact that he thought of Diesel for this collaboration is a great gift and acknowledgement of our reputation as the prêt-à-porter of casual wear."[13]
Lagerfeld designed the costumes for the Carmen sequences in the 2002 film Callas Forever. In 2004, he designed some outfits for the international music artist Madonna, for her Re-Invention tour, and recently designed outfits for Kylie Minogue's Showgirl tour.
Lagerfeld collaborated with the international Swedish fashion brand H&M. On 12 November 2004, H&M offered a limited range of different Lagerfeld clothes in chosen outlets for both women and men. Only two days after having supplied its outlets, H&M announced that almost all the clothes were sold out. Lagerfeld has expressed some fear that working with lower-end brands will taint his image,[citation needed] although in the past he has worked closely with the hosiery designer Wolford.
Lagerfeld is also a photographer. He produced Visionaire 23: The Emperor's New Clothes, a series of nude pictures of models and celebrities. He also personally photographed Mariah Carey for the cover of V magazine in 2005. In addition to his editorial work for Harper's Bazaar, Numéro and the Russian and German editions of Vogue, Lagerfeld photographs advertising campaigns for the houses under his direction (Chanel, Fendi and his eponymous line) every season.
In the 1980s, the Hans Christian Andersen tale "The Emperor's New Clothes" was published with drawings by Lagerfeld.
The designer was also the subject of a French reality series called Signé Chanel in 2005. The show covered the creation of his Fall/Winter 2004–2005 Chanel couture collection. It aired on Sundance Channel in the United States during the fall of 2006.
He has also supported and encouraged the work of up and coming designers including Philip Colbert of Rodnik.[citation needed]
On 18 December 2006, Lagerfeld announced the launch of a new collection for men and women dubbed K Karl Lagerfeld. The collection includes fitted T-shirts and a wide range of jeans.[15]
Lagerfeld has signed a deal with Dubai Infinity Holdings (DIH); an investments enterprise that will focus on first of its kind projects in non conventional growth sectors, in line with their mandate[vague] to fulfil unmet market needs. Lagerfeld is to design limited edition homes[vague] on Isla Moda, the world’s first dedicated fashion island,[vague] set in the iconic[vague] development, The World. This will be a collaboration between Dubai Infinity Holdings and Lagerfeld across the GCC and India.[citation needed]
Lagerfeld is the host of fictional radio station "K109 – The Studio" in the videogame Grand Theft Auto IV.[16]
In 2008, Lagerfeld created a teddy bear in his likeness produced by Steiff in a limited-edition of 2,500 that sold for $1,500.[17] Lagerfeld has been immortalized in many forms: pins, shirts, dolls, and more. In 2009, Tra Tutti began selling Karl Lagermouse and Karl Lagerfelt, mini Lagerfelds in the form of mice and finger puppets respectively.[18]
On 10 September 2010, the Couture Council of The Museum at the Fashion Institute of Technology presented Lagerfeld with an award created for him, "The Couture Council Fashion Visionary Award", at a benefit luncheon at Avery Fisher Hall, New York.[19]
On 10 November 2010, Lagerfeld and Swedish crystal manufacturer Orrefors announced a collaboration for designing a crystal art collection.[20] The first collection was launched in spring 2011 under the name "Orrefors by Karl Lagerfeld".[21]
In 1993, he caused US Vogue editor-in-chief Anna Wintour to walk out of his Milan Fashion Week runway show when he employed strippers and adult film star Moana Pozzi to model his black-and-white collection for Fendi.[22]
There was much controversy from Lagerfeld's use of a verse from the Qur'an in his spring 1994 couture collection for Chanel, despite apologies from the designer and the fashion house. The controversy erupted after the 1994 couture show in Paris, when the Indonesian Muslim Scholars Council in Jakarta called for a boycott of Chanel and threatened to file formal protests with the government of Mr. Lagerfeld's homeland, Germany. The designer apologized, explaining that he had taken the design from a book about the Taj Mahal, thinking the words came from a love poem.[23]
Lagerfeld was the target of a pieing by People for the Ethical Treatment of Animals (PETA) in 2001 at a fashion premiere at Lincoln Center in New York City. The tofu pies hurled by animal rights activists in protest of his use of fur within his collections, however went astray and hit Calvin Klein. A PETA spokesperson described the hit on Klein as "friendly fire", calling Klein, who doesn't use fur, "a great friend to the animals", while he called Lagerfeld a "designer dinosaur" who continues to use fur in his collections.[24]
Lagerfeld defends the fur industry and the use of fur in fashion, although he himself doesn't wear fur and hardly eats meat. In a BBC interview in 2009 he claimed that hunters "make a living having learnt nothing else than hunting, killing those beasts who would kill us if they could", and maintained that "in a meat-eating world, wearing leather for shoes and clothes and even handbags, the discussion of fur is childish." Spokespersons for PETA called Lagerfeld "a fashion dinosaur who is as out of step as his furs are out of style",[25] and "particularly delusional with his kill-or-be-killed mentality. When was the last time a person's life was threatened by a mink or rabbit?"[26]
In 2010, PETA quotes Lagerfeld, who used fake fur in his 2010 Chanel collection, on their website as saying: "It's the triumph of fake fur … because fake fur changed so much and became so great now that you can hardly see a difference."[27]
Lagerfeld in 2009 joined critics of supermodel Heidi Klum. After German designer Wolfgang Joop called Klum, who had posed naked on the cover of the German edition of GQ magazine,[28] "no runway model. She is simply too heavy and has too big a bust",[29] Lagerfeld followed suit by saying that neither he nor Claudia Schiffer knew Klum as she has never worked in Paris and is insignificant in the world of high fashion, being "more bling bling and glamorous than current fashion."[30]
Lagerfeld created an international furore on 9 February 2012, when he called the singer Adele" A little too fat". This caused instant fury throughout the United Kingdom and Lagerfeld responded with a statement of apology. Adele hit back by saying she is like the majority of women, and she is very proud of that fact.[31][32]
When Lagerfeld lost 42 kg (roughly 92.6 pounds) in 13 months in 2001, his explanation was "...I suddenly wanted to dress differently, to wear clothes designed by Hedi Slimane," he said anxiously. "But these fashions, modeled by very, very slim boys—and not men my age—required me to lose at least 40 kg. It took me exactly thirteen months." The diet was created specially for Lagerfeld by Dr. Jean-Claude Houdret, which led to a book called The Karl Lagerfeld Diet, which he promoted on Larry King Live and other shows.[7]
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