• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.611-621
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• 2009

As fashion is a visual symbol that reflects age and culture, cosmetics and beauty are other products of fashion that move the time. A dominant designer of 20th century Chanel does not merely stand for a design innovation of fashion industry that created a vogue. With liberation from corsets that cruelly exaggerated and suppressed female body, meaning of style in modern fashion could be found not only in clothing but also in make-up and hair style. Simplest possible comfort was aimed for, and philosophical concepts of minimalism, modernism and dandyism were incorporated with clothing, cosmetics, perfume, make-up and hair style to establish aesthetical concept of total fashion. Chanel thought of cosmetics as an accessory with essential role and although her philosophy on cosmetics and beauty is not as well known as her clothing style, the authors believe that understanding such philosophy will become an important stepping stone for accurately understanding Chanel style. The purpose of this study is to firstly illuminate the idea that cosmetic beauty can be studied with artistic and philosophical background in addition to its functional side and to secondly investigate the reason why Chanel style is being loved by women with such durability over time and space and with what tempo fashion is connected with cosmetic beauty culture and develops. Third, by studying the ways in which characteristics of Chanel's fashion philosophy are expressed in cosmetics and beauty culture, this study aims to accurately understand Chanel's philosophy on cosmetics and beauty. The meaning of this study can be found by showing the evidence that globalization of Korean fashion beauty culture can be achieved only when cosmetics and beauty culture moves with an intimate connection to clothing culture.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Fashion & Textile Research Journal
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• v.24 no.2
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• Journal of Fashion Business
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• v.20 no.6
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• pp.111-134
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• 2016

A luxury brand bag is a medium to symbolize brand identity and plays a role in enhancing brand value. A typical example is a designer signature bag such as Hermes Kelly Bag, Birkin Bag, and Lady Dior Bag. The purpose of this study is to analyze the design changes and acceptance of identity of luxury brand bags and examine the design characteristics that succeed to the value of a luxury brand bag. The subjects of the study focused on Louis Vuitton, Gucci, and Chanel bags. Photos were collected from www.vogue.co. uk. based on the fashion collections from S/S 2007 to S/S 2016. The study methodology was to analyze the kinds, shapes, colors, materials, and the ornament of subject bags based on previous studies. The results of the study were summarized as follows. For the identity and design changes of each brand, Chanel has tried to combine functionality pursued in the past with constantly changing femininity by making bags in fantastic moods using various materials and free shapes. Gucci has constantly used Ornament elements holding the brand identity of classic bags and trend colors to keep tradition. Louis Vuitton holds fast to its functional shape to protect brand identity through design philosophy that started with a travel luggage and attempts to express modern emotion through Ornament changes. This study confirmed that luxury brands have accepted their unique design characteristics holding brand identity to improve their brand value and attempted to change constructive elements in many different ways for modern reinterpretation.