Vogue on Coco Chanel, Schemi e mappe concettuali di Lingua Inglese

Scarica Vogue on Coco Chanel e più Schemi e mappe concettuali in PDF di Lingua Inglese solo su Docsity! Easy elegance By 1917, just 4 years after Coco Chanel, had launched her own label, she was known and her clothes been illustrated in French, British and American Vogue. Describing her as the “dictator of jersey”, Vogue had acknowledge that she had elevated a textile that had custumarly been used to manufacture man’s underwear to the rarified realm of haute couture. Chanel’s use of jersey was liberating, her pared down designs, became ideally suited to woman were increasingly independent. The easy elegance which became Chanel’s signature was already a hallmark of her clothes. Chanel incorporated pockets into her designs so that there was no need to carry a handbag. Chanel was born in 1883 in a poor house in France. In 1895 her mother died of tubercolosi and her father put his daughters in an orphanage called Aubazine. 
 Aubazine’s aesthetic are said to have inspired the onyx-on-bleached-white (onice su sfondo bianco puro) palette which came to define Chanel’s brand’s identity and dominate the color scheme of its glossy product packaging as well as its couture collections. Similarly, a moon and a star print, which has featured as a pattern on sumptuous Channels silks, and the Maltese cross, an enduring motif of Chanel’s jewelry collection, may have sprung from the mosaic made from thousands of tiny pebbles (ciottoli) by the monks (monaci) at Aubuzine. It has discovered that the panes (pannelli) of Abuzine’s windows, formed “geometric patterns, knots and loops that look eerily (stranamente) like the double C of Chanel’s logo”. After a year in a catholic boarding school (collegio cattolico) she found work in Moulins. By day she was a seamstress, in the evening she moonlighted (fare gli straordinari) as a poseuse; she made her money by passing around a hat after she had entertained the crowd. The soldiers found her adorable and christened (battezzarono) her “Coco”, the name that featured (compare) in two of the numbers she performed. By 1904, she was working in a tailoring shopped there she met Etienne Balsan, a french textile heir (erede di un’industria tessile francese) and racehorse owner. He became the first in a series of loves who mentored and provided for her. She had access to Balsan’s stables (stalle), becoming an expert horsewoman. While accompanying Balsan to the races and at his hous partyies Chanel brushed shoulder (si trova gomito a gomito) with courtesans and aristocrats. Chanel despised the defined look of the woman at the time, in contrast she played the cool tomboy (monello) and wore jodhpurs (pantaloni da cavallerizzo) and tailored jacket. After she was seen a sporting one of her hats at the Longchamp racetrack, more of Balsan’s lady friends enlisted Chanel to trimmed her own hats. Chanel’s fortune improved further when, accompanying Balsan on a fox hunt, she met Arthur “boy” Capel, a wealthy British business man. When she expressed her desire to become a milliner (modista) in Paris, he encourage her.
 So Chanel followed him to Paris. Paris was Europe’s art capital. Chanel blazed (forgiare) her own fashion trail (strada) in this world, and be able to count many well-known artists and writers as personal friends. On 1910, she was able to open Chanel modes near the Hotel Ritz, so its wealthy guests became her clients. !1 The old world glamour of the couturiers Worth and Doucet was becoming out of step with the brisk pace (ritmo frenetico) of Paris life; it was Poiret who reigned as the king of fashion with his Far Eastern-inspired exotica. On a visit to Deuville with “Boy” in 1913 Chanel decided to open a boutique on the town’s most fashionable thoroughfare. Her earliest garments were wear perfectly suited to the relax, outdoor activities of a beach resort. When the first World War broke out in July the following year her clothes were in tune with the mood of austerity. She was quick to pick up on trends and she could tell what was right or wrong with one glance (sguardo) at a client, this established her as an “arbiter of taste”. By 1915, thanks to Boy Capel, she was able to found her own maison de couture in Biarritz (France). In 1916 she purchased a batch (partita) of machine-made beige jersey and with this material she produced the Biarritz collection. In October, Vogue’s pages displayed Chanel’s design ingenuity (ingegnosità) and her painterly (pittorico) use of color with jersey. Chanel’s best costumer were now Spanish aristocrats and royalty. To keep up with the increasing demand for her clothes, Chanel established a new Paris work room to supply Biarritz. Fashion forward (Il futuro è di moda) In 1918, at the end of the war, Chanel relocated her couture house in Paris, this business base was the first oh 8 properties that she acquired through 1920s. In 1918 Boy Capel was tragically killed in a car accident. For companionship (per conforto) she turned to a poor Russian emigrant, the Grand Duke Dimitri Pavlovich. It was Pavlovich who forged Chanel’s connection with Ernest Beaux, the perfumer responsible for Chanel’s most lucrative sideline (attività collaterale), her signature scent (aroma), N° 5. Beaux was an old Moscow friend of Pavlovich and Chanel met him in 1920 while they holidayed in Montecarlo. Beaux presented Chanel with 10 sample (campioncini) scents organized in two series. Ultimately, N°5 composed of rose, jasmine, j-lang j-lang, and sandalwood, seduced her. Beaux asked Chanel “what name will you give it?”, and she replayed “we will let this sample keep the name it has already, it will bring good luck”. She had superstition about the number 5. Maurice Depinoix a producer of perfumes bottles, helped her conceive the legendary transparent hard-edged cube-shaped flacon. Its minimalist look adhered (risponde) to Chanel’s fashion philosophy. Chanel promoted her perfume with a “strategy of stealth” (strategia del segreto). As Plavovich’s relationship with Chanel intensified, he discreetly worked along side her. Thanks to him, a network of emigrant who fled from Russia to Paris found work at the House of Chanel. In the early 1920s the homeland of Pavlovich’s family informed the spirit of the haute couture collections the she conceived with the help of his sister, the Grand Duchess Marie Pavlovna. One particular slavic-inspired couture line, often known as the Russian collection, was considered to be Chanel’s second most important sartorial triumph after the ground breaking Biarritz collection. !2