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]

History[link]

The Coco Chanel era[link]

Establishment and recognition — 1909–1920s

The actress Gabrielle Dorziat wearing a Chanel plumed hat. (1912)

Fashion before Chanel: The artificial bust, waist, and hips of corsetry. (Bianca Lyons,1902)

The Chanel Suit 2009: a tailored cardigan-style jacket, knee-length skirt, two-toned shoes, jewellry, and a leather handbag.

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]

Business partners — late 1920s

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]

Elegance and the War — 1930s–1940s

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]

Chanel’s spymaster:
General Walter Schellenberg
Chief of the Sicherheitsdienst.

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]

Resurgence — 1950s–1970s

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Chanel haute couture: Cashmere suit comprising a sleeveless dress and a long, cardigan-style coat. (ca. 1960)

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.

The post–Coco era[link]

The couturier Karl Lagerfeld, chief designer at Chanel S.A., and the Bolivian couturière Monica Moss. (Monaco 2005)

Chanel couture by Lagerfeld: the Autumn–Winter 2011–2012 collection

The 1980s — Karl Lagerfeld

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 1990s

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.

The 21st century

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 1,000^sqft 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]

Corporate identity[link]

The logotype

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 trademarks

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.

Products[link]

La nez de Chanel: The perfumer Ernest Beaux (1881–1961) created No. 5 de Chanel in 1921.

Clothes

Fragrances

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:

1. Ernest Beaux (1920–1961)
2. Henri Robert (1958–1987)
3. Jacques Polge (1978 to date)

Signature fragrance: Chanel presented perfume No. 5 to the market in 1922; Ernest Beaux created it in 1921.

Perfumes

• Allure

• Bois des Îles

• Chance Eau Tendre — Jacque Polge developed Chance Eau Tendre to feature floral and fruity and notes, among them grapefruit, quince, hyacinth, jasmine, amber, cedar, iris, and white musk.

• Coco Mademoiselle — British actress Keira Knightley, current spokeswoman for the Coco Mademoiselle fragrance, portrayed young Coco Chanel in a short film advert directed by Joe Wright. (see: Coco Mademoiselle)

• Cristalle

• No. 5 — No. 5 The Film, is about the most famous woman in the world (Nicole Kidman), with whom an anonymous aspiring writer (Rodrigo Santoro) becomes enamoured; afterwards, a fragrant memory is all he retains of her.^[23] In 2008, the French actress Audrey Tautou became the visage of perfume No. 5 de Chanel.

• No. 19

• No. 22

• Cuir de Russie

Colognes

• Allure pour Homme

• Antaeus

• Bleu de Chanel

• Égoïste

• Pour Monsieur

Handbags

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.

Wristwatches

The unisex design of the Chanel J12 wristwatches suits men and women.

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]

The shops[link]

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]

The Chanel Girl[link]

Model	Nationality
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

See also[link]

• Belle Époque

• Pink Chanel suit of Jacqueline Kennedy Onassis

• 1900s in fashion

References[link]

External links[link]

• Official website
• "Style Pointes". Ballet News. 9 September 2010. http://balletnews.co.uk/making-style-pointes/. 
• Chic Chicago: Couture Treasures from the Chicago History Museum
• "Interactive timeline of couture houses and couturier biographies". Victoria and Albert Museum. http://www.vam.ac.uk/vastatic/microsites/1486_couture/explore.php. 

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Karl Lagerfeld
Lagerfeld at the Red Cross Ball in Monaco, August 2005
Born	(1933-09-10) 10 September 1933 (age 78) Hamburg, Germany
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.

Early life[link]

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]

Early career (Balmain and Patou)[link]

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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."

Freelance career (1962–1982)[link]

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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).

International fame (1982–present)[link]

Lagerfeld at the 2007 Cannes Film Festival

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]

Lagerfeld with the Prince Albert II and Princess Charlene of Monaco, 2011

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]

Controversies[link]

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]

Weight loss[link]

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]

References[link]