• 한국의류산업학회지
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• 제23권6호
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• pp.709-725
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• 2021

The study focused on the design features of Chanel and Fendi, directed by Carl Lagerfeld, creative director of Chanel and Fendi until his recent death. The range of the study was from the 2017 S/S Collection to the 2019 F/W Collection, which collected a total of 767 fashion photographs, including 483 Chanel, 284 Fendi, with tops, bottoms and dresses at VOGUE (https://www.vogue.com). According to the data analysis criteria organized based on prior research and related literature, it was classified in the order of form, color, material, pattern, decoration, fashion image, item and coordination, and content analysis was conducted based on statistical analysis. Overall, the design characteristics of the Chanel collection, directed by Karl Lagerfeld, were rectangle form, tone in tone coloring, combination of identical materials, geometric patterns, and classical images as the main design characteristics of the Chanel collection. The design characteristics shown in the Fendi collection directed by Karl Lagerfeld were rectangle form, tone in tone coloration, hard material combination, abstract pattern, and total coordination. Comparing the design features of Chanel and Fendi, directed by Karl Lagerfeld, is as follows. Chanel and Fendi's designs show a lot of rectangle form, tone-in-tone colors, hard-materials and combination of the same material.

• 복식문화연구
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• 제14권5호
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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.

• 패션비즈니스
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• 제11권1호
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• pp.26-37
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• 2007

Madeleine Vionnet(1876$\sim$1975, France),the most prominent figure of the 20th century draping, started her apprentice in France in 1888 and expressed feminity of adult products through her various works until she closed the house in 1940. The feminine designs of the adult style appeared in 1930s, whose characteristics were silhouette and details that emphasize the body, and bias designs. Not only Vionnet, but also Chanel and Schiaparelli were the representative female designers at that time. The preliminary researches of Vionnet designs were mostly focused on her cutting methods. This paper purports to examine Vionnet's bias cutting method, to compare Vionnet with female designers of Chanel and Schiaparelli who led the mode of 1930s with feminine designs for the adult products in that period, and then to attempt creative designs by use of bias cutting.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.6-14
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• 2006

The purpose of this study is to examine how the Chanel Collection, a famous brand acknowledged for it's modern style, was influenced by post-modernism. The scope of research includes initial concentration on 1920's boyish style of Chanel as well as its relative influence on modernism. Secondly, the research concentrates on Chanel Collections that Lagerfeld's designs were best represented. The results were as follows: The tendency to eroticism for fashion business, tendency to retro-fashion, tendency to popularization of sub-cultural group's fashion, tendency to no-match-mix, tendency to androgynous style, tendency to emphasis on ornaments in clothing.

• 복식문화연구
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• 제11권4호
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• pp.525-540
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• 2003

This survey paper aims to compare two significant figures in the history of Haute Couture e.g, Paul Poiret and Coco Chanel, who played a leading role between 1910 and 1930. It is found here that they have common features with respect to giving freedom to body through costume, enlarging Garconne Mode, creating more value of Costume Jewelry, exploiting advertisement strategy using models, proving exotic styles, and last but not the least contributing to Haute Couture. The research shows, however, that Poiret differs from Chanel in that he made most of various natural colors whereas Chanel used black or beige colors that had been rarely used woman wear previously. They also differed in using fabric, permitting copy by others, ingredients and bottling of perfume, meaning of silhouette. This kind of comparative research is expected to provide more understanding of fashion history and to contribute to more rigorous analysis of key success factors of designers in his or her age of fashion.

• 복식
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• 제32권
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• pp.45-56
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• 1997

The purpose of this study was to investigate the relationship between Chanel design and her Costume jewelry in 1920's-1930's through documentary studies. According to the study the result was as follows: 1. Chanel's esthetic in the field of Fashion Design bore the double stamp of "elegance" and 'simplicity' 2. Chanel changed the concept of costume jewelry. Chanel's great innovation was that she let 'fake' jewels always keep the intrinsic value of 'real' ones. 3. The simplicity of her perfectly tailored suit was Paradoxically overwhelmed by a fan-tastic array of jewels. The relationhship be-tween Chanel design and her costume jewelry was not able to be seperated. Chanel was a fashion leader fifty years ago and the name "Chanel" will be at the forefornt of fashon fifty years from now. The image of quality will always remain the same in the futures.

• 한국의류산업학회지
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• 제10권3호
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• pp.342-352
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• 2008

Picasso and Chanel were the most famous artists of modern art & fashion area in 20th century. It is well known that they have deeply influenced to the current fashion and art. This study is aimed to analyze Channel's works based on the aspects of Picasso's from 1900's to 1930's. There are five common, distinct and formative aspects - flatness, geometry, transparency based on multi-perspective, volume, variety of objects. Their works are based on the simplicity which is expressed by the analyzation, organization, deconstruction influenced by cubism. It is reconfirmed that they gave the general public the new value-functionality-by using the ready-made materials. Nowadays artists model themselves after Picasso and Chanel who made attempt to conversion of ideas, the steady style, the long view, the interchange of other fields and popularization.

• 패션비즈니스
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• 제3권2호
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• pp.1-17
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• 1999

The purpose of this study is to discover the source of the force that has continously pertained it through the years. Following the flow of the times, the Chanel Style has transformed and developed through the styles of the sporty look, the russian look, the gar onne look, the romantic look, and the classic look. Not only has Chanel created classic designs that transcend time, but she has created clothing that is very feminine and full of wit in the evening wear. She has also innovated the fields of textile, garment cutting, details, and accessories. The Chanel Style was expressed by simplicity, funtionality, sensuality, and amusement. Simplicity to Chanel was an important element that expresses both youth and casual characteristics and the use of jersy and the color black has resulted in a functional simplicity. For the active, new woman, not only a funtional beauty but also a subtle, moderate, and a unobtrusive sauve sensibility is expressed in the Chanel Style. Also pleasure can be observed in the costume jewelry that gives one enjoyment.

• 한국전자파학회논문지
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• 제28권1호
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• pp.19-24
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• 2017

본 논문에서는 스크린 인쇄 방식으로 제작된 의복용 메타물질 흡수체를 제안한다. 제안된 흡수체의 단위구조의 도체 패턴 모양은 의류 브랜드인 샤넬 로고를 차용하였으며, FEM 방식의 시뮬레이션 툴을 사용하여 성능을 검증하였다. 또한, 성능을 검증하기 위해 일반적인 직물 원단 위에 전도성 잉크를 스크린 프린팅 방식으로 인쇄하여 시제품을 제작한 뒤, 벡터 회로망 분석기와 두 개의 도파관을 이용하여 반사계수를 측정하였다. 그 결과, 제안된 흡수체는 10.8 GHz에서 약 93 %에 가까운 흡수율을 갖는 것을 확인하였다.

• 복식
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• 제50권8호
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• pp.129-147
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• 2000

The main purpose of this study was to define the Fashion Coordination through chanel style. The methods of research were review precedent theses. the document rotated to fashion, and fashion Magazine. Also, information on the Internet was used. In sense of the fashion coordination, Designer Chanel understands fashion. Chanel is created that has Chanel Style through garcon style in 1920 by coordination with accessory and so on that means modern fashion. From than, even though Chanel Style has changed over and over according time, that become ideal image model what modern women is running after be. 1. Tubular style has easy to represent personal identity each people, by coordination with accessories and so on. The relationship tubular style and accessory is help to produce image bast. 2. Chanel' Hat was coordination with the same color clothes, contributed to finish wearing clothes and increase position. 3. Necklace has representative accessory in Chanel style. 4. Carmellia made use of point accessories on clothes. 5. Chanel N$^{\circ}$ 5 was produced crystallization that is necessary to make image. 6. Chanel was created Modern style based on the garcon style. 7. That became ideal image what women want to be in 20th century 8. Through cackle kennedy, that has best style symbolized rich and position.