It is curious that Paul Poiret was later displaced, disappearing from the fashion world for the same reason that he had made a name for himself: the search for novelty. “Poiret was not able to adapt his creations from the twenties to the new type of woman that appeared, a type of woman that was the result of a process that had begun long ago: the collapse of the differences established by reasons of sex in dresses and the approximation of women's clothing (in this specific case) to men's clothing ”(Casajus, 1993, p. 30).    

universe. His biggest competitor, Grabrielle Chanel was growing as he sank. In 1926, Chanel met glory with her petit robe noir, a knee-length, long-sleeved black dress. With this dress, Chanel completely finished with the ornaments and seized the modernity of the refined forms.  

   Saviolo reminds us of the Chanel spirit. Gabriele Chanel, for the author, is the clearest example that creativity and fashion can contribute to the evolution of the cultural context and social customs. Chanel introduced innovations that have become a timeless universal style: women's pants and sportswear, the use of knit and tweed for women's garments, elegant jacket suits, short hairstyle à la garçon, black dress, perfume No. 5, a leather bag with a chain shoulder strap to leave your hands free, two-tone open shoes and jewelry. All of them are distinctive features that are considered Chanel's spiritual heritage (Saviolo & Testa, The management of fashion companies, 2014). Gabrielle Chanel managed to be an excellent salesperson of herself. If Poiret had created the first brand extensions, Chanel will manage to give "a powerful aura to objects that bear his name." And it is that "to be a great couturier it is necessary [...] to know how to tell stories" (Erner, 2005, p. 30).

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Last-modified: 2020-05-04 (月) 02:56:38 (352d)