Coco Chanel's Constructed Femininity in 'The Return' 1. Introduction: Making the Female Body Chanel “The Chanel woman was seen to coordinate every. Gabrielle Chanel was perhaps the most influential fashion designer of the 20th century, despite no formal training in fashion or design. She introduced. Gabrielle Bonheur “Coco” Chanel (19 August – 10 January ) Coco Chanel was a leading French modernist designer, whose patterns of simplicity.

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Gabrielle "Coco" Chanel was born in France in and died in She was a pioneering fashion designer who revolutionized women's fashion. Art and Fashion in the 20th Century: Coco Chanel . /Coco _ (Accessed March 10, ). [PDF] Download Coco Chanel: The Illustrated World of a Fashion Icon Ebook | READ ONLINE Download at.

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Coco Chanel: The Illustrated World of a Fashion Icon to download this book the link is on the last page 2. Description "In order to be irreplaceable, one must always be different" - Coco Chanel Fashion is ever-changing, influenced by the key designers that capture a moment in history; and Coco Chanel is arguably the most significant influence on women's fashion in the twentieth century.

Coco Chanel. Her life, lifestyle and fashion

The Illustrated World of a Fashion Icon is a compilation of Megan Hess' stunning illustrations of the most quintessential moments through Chanel's history, from Coco's incredible life, to the impact of Karl Lagerfeld and the incredible items that have become fashion icons - the little black dress, the luxurious bags and accessories, glamorous jewellery and of course the renowned Chanel No 5 perfume. Interspersed with historical anecdotes and famous quotes from Coco herself, Karl Lagerfeld and other key fashion icons of the era, this book is an elegant and immersive introduction to the moments that shaped Coco and the iconic Chanel brand - and how fashion, in turn, shaped their lives.

Book Details Author: Megan Hess Pages: Sensibility is the key feature which determines postfeminism Gill, Chanel expressed her style before the celebration of youth culture in Western societies which started around s — the time setting of the movie. The following quote from The Return explains the paradoxes of taste and style of the Mademoiselle: The interview has the implication of the colonialism of style, that Coco Chanel can protect the US from the meaningless and petite bourgeoisie sense of fashion and from the tasteless youth.

In postfeminist term, style is attached to lifestyle which has shifted fashion industry and marketing strategies in the previous decades. The question is, does anyone, even the most famous female fashion designer have the right to regulate, or think that she has the right for the dictating who and what has good taste. The film also functions as lifestyle coach and personal branding which sells the idea of sophisticated woman obsessed with the relationship of body and clothes.

Fashioned Postfeminism The Return film represents both the fashion as empowerment and as fulfilment concepts. The woman of Chanel embodies postfeminism that women can gain empowerment and emancipation through self-surveillance and commodification of the body; they become subject not the object of themselves Gill, In postfeminist term, self-surveillance and consumerism are interpreted as choices and empowerment.

For Coco Chanel fashion industry provided a career and helped to gain social mobility, capital, and self-fulfilment. Both in the realm and outside the film, fashion means the abolition and replacement of dependence from males. The Return uses the trope of fashion as the main connection between women.

Coco Chanel: Creating Fashion for the Modern Woman (A)

The women who are in contact with Chanel are either models or journalists. In scene 7, we see the only emotional interaction between her and another woman who seems to be a model. The objectification of not just the body but also other qualities manifests when Chanel asks the model to read a poem which was written by one of her past lover.

The letter functions as a medium for the embodiment of male control. From a psychoanalytic perspective, the phallus connects the women via love or, the lack of love which is often a topic in the movie.

In all other cases, fashion, as a metalanguage functions as the main connection between women which gives a postfeminist reading to the film.

On the other hand, it resembles to the postfeminist and capitalist idea of individualism in self-fulfilment by material substances.

Her youth and background and her development to a stylist and trendsetter

Both women manifest how empowerment and the sense of self is created through dressing the body. The woman who does not care about fashion as Andy in the beginning of the film , does not know herself. Scholars who theorise postfeminism claim that it is characterised by sending feminist and antifeminist messages at the same time, while interprets femininity as essentially biological not constructed Gill, Consumer-oriented female genre media products tend to communicate contradictory ideas to women, especially when it comes to the role of fashion.

In neoliberal capitalism, feminist and antifeminist messages often cannot be differentiated which are mostly about choices and empowerment Toffoletti, Coco Chanel has built her career and achieved social mobility but strictly in feminine way — by fashion.

Her style, dresses liberated women from patriarchal ideas on bodily discipline but put women into another essential category of womanhood and femininity. Either it is the brand or the timeless, famous designer.

The name of the Coco Chanel has different references and interpretation, it functions as an adverb1, sometimes it is a measuring point on how serious you are in your business, other times it means knowing fashion and valuing style2. The Return film also takes its place in the discourse of postfeminism focusing on the questions of career, love and gender roles.

Coco Chanel: An Intimate Life

Even though, we see the failures and successes of the brand and Coco Chanel with the big return, the narrative stresses that no successful woman in business can be satisfied with all aspects of her life. Lagerfeld decided to show that women, even with such freedom and success as Coco Chanel, cannot be happy with themselves. Even Chanel, a woman who put her name down in the history of the 20th century, cannot live without having to define herself by any male relations.

A year after The Return was released Karl Lagerfeld put together a Chanel catwalk which looked like a street protest and 3. Chanel fashion show Source: The Independent 1 Which symbolises the analysed discourse and glamour attached to both the woman and the brand Chanel. Lagerfeld, whose attitude towards women and feminism is often questionable, gained profit for selling a kind of feminism by embodying the message into a fashion show with celebrity models, hashtags and commodification of activism.

The Chanel woman, as she intended, lives. Conclusion No one and no-body can avoid presenting the social image of oneself by constructing it with clothes and different materials. I discoursed the constructed femininity and idea of woman of the most famous fashion designer of the 20th century by relying on fashion history discourses and my own analysis of The Return.

I used the social constructionist approach to fashion for analysing the relationship between Coco Chanel and the interaction of fashion, history, art and bodies. I looked at the film as a semi-marketing and semi-documentary fashion movie where bodies and clothes have more meaning than acting.

I analysed the representation of Coco Chanel and what she symbolises as a woman and as a brand personality. Nevertheless, as a film made in postfeminism, I looked at what The Return says to the audience. References Barthes, R. The Language of Fashion. Bloomsbury Publishing. Craik, J. The Face of Fashion: Cultural Studies in Fashion.

Her purposes and means

Davis, F. Do Clothes Speak? What Makes Them Fashion?. Fashion, Culture, and Identity.

University of Chicago Press, pp. Davis, M. Coco Chanel. Classic Chic.

University of California Press, pp. Driscoll, C. The Order of Things. Fashion Theory, 14 2 , pp. Epstein, L.

Escamilla, G. Women and Smoking in Hollywood Movies: A Content Analysis. American Journal of Public Health, 90 3 , pp. Escobar, S. Good Housekeeping. Gill, R. Postfeminist media culture: Elements of a sensibility. European Journal of Cultural Studies, pp. Hinde, N. Madsen, A. Coco Chanel: A Biography. Manning, C. Soloaga, P. Fashion films as a new communication format to build fashion brands.

Spelman, E. Woman as Body: Ancient and Contemporary Views.

Feminist Studies, Vol. Sprinf , pp. The Return. Walter Films. Toffoletti, K. Baudrillard, Postfeminism, and the Image Makeover. Cultural Politics, 10 1 , pp.

Trochu, E. Wardrobe Essential: The Little Black Dress. Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up.Both in the realm and outside the film, fashion means the abolition and replacement of dependence from males.

WordPress Shortcode. The clothing displayed in the movie define the type of work the Chanel woman should have. Such clothing of course existed before, but have been worn only by the people of the working class and the poor. Known for her strong beliefs and fearless attitude, Pocket Coco Chanel is a co..

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