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Paris Fashions ( An Absolute Necessity to Inlcude )

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Being Paris - there is no other choice but to cover fashions too! :

Feature Focus:
Paris Street Styles
An International collection of reports, observations, bloggers' authorships - genre contribution, and photos.

Nocturnal Retrospect.

The Maltese Muse Blog.

World Largest International Forum on.
Paris, France - the city's youth and their sociocultural competitive fashions [ Elle ] and trendsetters [ The Sartorialist Blog ] drives have been fully engage in setting the stage for future fashion creations [ Street Chic ]. After years of hearing about Tokyo Street Fashions dominating and absorbinng more and more of the European youth market inspired - once again - this recent revolution in teen styles. " This is our traditional way in being both French and Parisian." According to one Parisian teen youth in her blog.
To nobodys surprise this has triggered a reaction with teen in Milan and they are gearing up as they gather more inspiration from their Parisian girls freinds and boy freinds.  Outsiders are unaware of the growing European wide networking of dating behavior as the power of the Euro currency assist greater freedoms and options.

HRH Sirivannavari Nariratana
Recently she was the lead fashions designer Bangkok Fashions Week 2008

There are several reports that new'ly arrived social trendsetters, The 21 'sters, such as the Pincess Sirivannavari Nariratana Thialand have flock to Paris to be seen and written about - including what they are wearing [ Princess Nariratana was wearing selections by Dior's interpretations of Paris Street Fashions].

The overall view:
Americans have many stereotypes. This is especially true towards other cities like Paris while at the sametime not being able to see a fashions connection between Paris and Milan. Most are not aware of the cosmopolitan aspect of the emrging consciousness of European teens and young adults.  This has likewise created self - stereotypes which exist in one region to another here in the United States, IE New Yorkers' view toward Los Angeles teens.  The simple truth is that Europe is now developing its own superculture of youth; this is the real unity behind Europe and the sociocultural consequence of the new unified currency of the Euro.

Right now going to Paris is increasingly becoming a necessary right of passage for those who will become the new trendsetters here in America.  This was the way is was before World War II.  American youth and young adults and meeting with their Parisians age co - peers who are likewsie trendsetters advances, as it what going on now, the new genre which Paris Street Fashions are inspiring.

Many here still used to think Parisian are all dressed-up, as if they have just went down the catwalk/ runway. Nonetheless, as many American expatriots are now writting back home and in their blogs, and are discussing in their variouis meetups within Paris itself. now see the Parisians as being more simplified but still with that look of sophistication which makes the European distinction, IE. the way in which scrafs are draped over ones shoulder, in everything which exist with their visual view of fashions consciusness in seeing whats happening. They in turn similarly dressed out in Parisian Street Styles when returning home and noticed immediately heads being turned towards their direction.

To be dressed like millions of Europeans - each in his or her way has caused instant celeb status.  Its the 1920s all over again and both returning Americans and European youth culture, there are people who really wants keep up with the latest fashion trends and wear only what is being written about in both Paris and Milan who wear inexpensive brands which this new  style trend has created and don't care about the caprices of vogue. This is revolutionary, and now youth trendsetting as well-hopefully to socioculturally transcend over the Atlantic within the near future.

Joolicious Blog.

Because Im Addicted Blog

Additional information found on  C'est La Mode Blog [  ] Kira Fashions

King Louis XIV and Fashions : This gives an historical account of one of the major promoters in the histories of fashions and ballet.







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Carnot de Femmes

This is more a photo review. I found this on the internet and know you should see this blog Carnot de Femmes' Blog and some of the designs depicted.

To those of us who are movie buffs of the ole genre when Hollywood was the biggest thing in American'dom, these style were the average curve of glamor. Thus is use Maryland Monroe's pict below to give you a hint of what is coming.

Retros are now becoming Glamor - Retro - Buffing of a sorts. So enjoy the site gals.

RK, January 21, 2007

P.S. See what to buy the man .

La Samaritaine
19 Rue de la Monniaie


Fashion Blogs, Bloggers & BlogSites:
Petite Anglaise " Lost in Paris " [ BlogSite ];
Fashion TV - HOME


colette : paris
colette paris : style design art food beauty party and eshop, online boutique


Paris Fashion Blogs:

Blogs, Bloggers and Journals Fashions Links:

Paris fashion week part 4

Yves Saint Laurent

This collection was amazing , one of my new favourite now with Viktor & Rolf , Christian Dior and omg there are too much shows that I loved ."I just started with three thoughts: blazers, sweatshirts, and a vaguely preppy idea," said Stefano Pilati, "and then it went into thinking about goddesses, stars." . There was more in the way of vaguely Vionnet-influenced thirties satin (the goddess symbolism made overt), and the "star" motif manifested in chain-linked reflective plastic breastplates, which came over as a bit nonplussing. Still, credit to Pilati for having the courage to keep on in the direction he believes in.

Paris Fashions Shows News :


Karl Lagerfeld shrugged off doom and gloom over global warming with a flurry of snowflakes fluttering down on his catwalk show of colourful casual and sporty chic for Chanel Friday.
    Crunching their way across a thickly-carpeted runway of artificial snow, models came out under a fluffy array of 'clouds' made out of seven kilometres (four miles) of translucent fabric suspended from the ceiling.
    With bright sunshine streaming through the enormous glass and steel roof of the Grand Palais, the clouds, a weighty construction of 20 tonnes, released delicate flakes for a spectacular finale.
    "I felt like doing a very chilled decor as we are always talking of global warming, to reassure people," the German designer, a self-confessed snow lover, told reporters.
    One model came out sporting a pair of golden skates over her shoulder in a black and white all-in-one snow suit with a red polo neck underneath, while another wore a woolly scarf and hat.
    After his super-leggy look of recent Chanel collections, Lagerfeld lengthened his ready-to-wear silhouette in what he termed "a natural evolution" for next winter, to around the knee or longer.
    Skirts were politely slender and ladylike, often paired with long boots in matching patterns, such as a tomato red and black check straight skirt with coordinated, black toe-capped boots.
    Coat dresses were even longer with splits running high up the sides and came in blue or purple, and jeans were occasionally worn under coats, perhaps tucked into long boots or with ankle boots.
    The youthful collection featured checks and dogtooth, as well as a wide range of Coco Chanel's favoured tweed, from an elegant ensemble of cream jacket and pencil skirt buttoned up the back, to tweed mixed with splashes of colour, such as purple, turquoise and red.
    A salt and pepper dress had a fuchsia top showing from under its short sleeves, as layering also crept in, while colourful jewellery embellished the clothes. Of the tweed, Lagerfeld said: "It's a part of our identity for Chanel."
    For more formal wear, sleek dresses in black, bright red or electric blue, or polished twinsets were offered, while thickly sequined skirts in light gold or white moulded the outline for cocktail hour.
    Sober but stunning was a full-length black dress with a column skirt under a caped cocoon top that covered the arms but was left open behind to sexily reveal the lower back.
    Britain's Alexander McQueen is due to unveil his ready-to-wear women's collection for autumn-winter 2007-08 here later Friday. Paris fashion week runs until Sunday.
Received Saturday, 3 March 2007 01:18:00 GMT


PARIS, March 3, 2007 (AFP) - From the shower of paper snowflakes that fell from fluffy clouds on to the Chanel catwalk, to Alexander McQueen's witching hour, the Paris ready-to-wear shows had a sense of drama.
    In total darkness, McQueen's spell-binding late-night show on Friday saw models parade under an inverted pyramid of shimmering images and whispering voices in somber, severe or highly-sculpted protective gear.
    Black invites to the show suggested a theme of the 17th century Salem witch trials in the United States. But the British designer seemed set to keep the supernatural at bay, especially with a metallic moulded bust and torso over a gold catsuit.
    Amid the theatrical touches were softer aspects such as egg-shaped tops, but these were paired with second-skin shiny leggings to toughen them up, while hoods shrouded the head and waists were corseted in wide belts.
    The highlight was a finale of evening dresses in otherworldly green and soft golds, particularly a long fitted black dress with glittery copper that dripped down it, and mermaid skirt gowns.
    At Chanel, Karl Lagerfeld defied global warming with a snowy Alpine decor. "I felt like doing a very chilled decor as we are always talking of global warming, to reassure people," the German designer, a self-confessed snow lover, told reporters.
    Suspended from the ceiling were 'clouds' made from seven kilometres (four miles) of fabric which were illuminated by the sun streaming through the glass and steel ceiling of the Grand Palais.
    A model came out sporting a pair of golden skates over her shoulder in a black and white all-in-one snow suit with a red polo neck underneath, while another wore a woolly scarf and hat.
    After his super-leggy look of recent Chanel collections, Lagerfeld lengthened his ready-to-wear silhouette for autumn-winter 2007-08 to around knee-length, or longer.
    Skirts were slender and ladylike, often paired with long boots in matching patterns, and coat dresses were even longer with splits running high up the sides, while jeans were occasionally worn under coats.
    The casual and sporty collection featured checks and lots of Coco Chanel's favoured tweed, from an elegant cream jacket and pencil skirt buttoned up the back, to tweed mixed with splashes of purple, turquoise and red.
    A pepper-and-salt dress had a fuchsia top showing from under its shortened sleeves, as layering also crept in, while colourful jewellery embellished the clothes.
    More formal wear included sleek dresses in black, bright red or electric blue and polished twinsets, while thickly-sequined skirts moulded the form in light gold or white for cocktail hour.
    Sober but stunning was a full-length black dress with a statuesque column skirt under a cocoon caped top that covered the arms but was left open behind to sexily reveal the lower back.
    The penultimate day of Paris fashion week Saturday sees fashion houses Kenzo, Chloe and Hermes unveil their visions for women's luxury dressing for next winter.

M-F 3:30
Sisley glamour in the heart of Paris


Image Gallery

Paris, 28 March 2007 - h. 3.30 p.m. CET . The Sisley brand inaugurates a store in one of the French capital’s most sophisticated districts, Saint Germain des Prés, Rue du Four.

This inauguration is a continuation of the brand’s expansion programme aimed at bringing the Sisley style and image to the leading shopping streets of the world’s major cities through prestigious single-brand stores. On the heels of the recent opening in Lyons on the buzzing Rue de Gasparin, the inauguration in Paris will be followed by another new Sisley store in Cannes. These new monobrand stores are in addition to the 40 shops-within-a-shop already present in France. The latest French stores are part of an international expansion plan which includes recent new openings in New Delhi and Tokyo, with Budapest and London to follow shortly.

The Paris store sets the trend not only for the womenswear and accessories on display but also for its layout and décor. The space of some 400m² houses the Pentagram store concept created exclusively for Sisley,where black – the brand’s iconic colour – is used for fittings, partitions and the ceiling, creating a very avant-garde atmosphere and identity. Spread over two floors connected by red-walled stairs, the store interior is very dynamic with black damask elements and diffused lighting, creating a shopping experience of discreet, intimate and very personal purchases. This new store represents a step further in the international launch of the Pentagram concept.

The shop on Rue du Four opens with this completely new look showcasing Sisley’s new women’s collections for spring-summer 2007. Themes for this season focus on Sexy Puritan, where an elegantly provocative black calls the shots; City Blue, an urban look seen in a Japanese light; Ethnic Chic, or symptoms of nostalgia for Africawith the colours of the savannah; French Open for a tennis club atmosphere from the Sixties. And everything with, of course, the “right” details from the collection of Sisley accessories perfectly in tune with the brand’s fashion wear.

High-resolution images are available in the section:
Image Gallery - Stores - France - Paris, Rue du Four

For further information: +39 0422 519036

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Travel to Ithaca, New York and check out Shangri-La shop on the Historic Ithaca Commonsfor new visions in fashions.


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During this age of post feminism European Fashion designers are pushing the envelope by introducing topless fashion designs on the leading fashion run ways in Paris, Milian, Madrid, and others. Moreover, there is an opposite movement in the retros in which the thing is to out do the designers of the 40s and 50s.

This is in reaction of a growing shift in the nightlife in key Europan cities in which women are finding safer environments from which to find personal release, and topless is gowing. In Paris, Berlin, Bonn, Caan, and Madrid free open tops of early 2004 have given way to mild see through topless causuals personally crafted. Moreover, increasingly at more and more plush parities given by the Euro Dollar - New Rich, the topless look is growing. All reflect both growing safety women are now experiencing, and the implications and self-realization of ones own rights personal taste and social fantasies. European designers who are trying the catch up are still unknown. Increasingly, the binding of bra staps, and the constant irritations felt in sudden body turns during social dancing, especially in the new moves provided by the Hip Hop culture is suddenly loss by the freedom now being opted for.

In one email, Rene Litz from Caan commented " That women covering their tops were really not natural for a womyn's body. It was a condition impossed by males who feared women assuming power during the early development of European civiliations which sought her exploitation. She has always questioned in her life ..Why the part that produced milk for innocent children? ."

With this in mind, a really discussion needs to be look at and properly reacted to. The key factor of which is thesocial movements developed by every University and College activist feminist group who push the Take Back the Night Campaigns both and off their respected campus. Especially at the Unversity of Rochester's Feminst's Coalitions, when the success of this campaign during the 1970s triggered topless yearly demonstrations in down town Rochester to promote legislation in Albany to allow women who so chose can go topless-which was subsequently passed. There is a proposal for a parade now being discussed.

The one time increasing incidents of sexual assault and rape closely and academically examined in depth during the 70s and 80s made a dramatic down turn since the late 90s. Howover, though similar trends ocurred in Eruope, Anmerican women did not respond in the same manner as did the Europeans. All of which caused the need to fully examine this aspect, in as much as style and fashions are outward expressions of the social and cultural conditions which exist in ones time and era.

The website Fashions Trendsetters / Trend Setters was specifically developed and put together to gain wider attention, and this forum is where the answers should be examined. I once trought of developing my own forum, but instead I found this one which already existed.

What should be looked at from my point of view is simple this.

Is the nightlife coming up to par with the early feminist aspirations which created The Take Back The Night campaigns of the 70s ?

As per the course Introduction to Womyn Studies, State University College at Buffalo, the resolve that a womyn's breast is not a sex object, why we still have this puritanical point of view while Europe in increasingly rejecting this ?

What are the clear implications to creative style features in American fashions once some of the base issues become clearer? And more impportantly, which American city is going to take the first step ?

All the while this is going on why are retros assuming a permenant and at times growing marketing nitches?

Lastly, in the past advant of AID's destroying the leadership of American fashions during the 1980 - 1990, quess who is filling in the void, and where did they get their initial experiences ? Victoria Secret ? Wicked Fashions ?

With the once dominate Europeans now being overshaddowed by Asian dominance, especially from Tokyo, and the growing power of and other groups related groups and blogs, we are on the verge of new era of fashion who are smiliarly looking at these issues. They plus other monitored internet groups, especially those sponsored by MSN, and Yahoo for free cl;early indicates a growing shift to what the Europeans are doing. In addition. in every advocate rape and sexual program nation wide, " What a women wears is not any grounds for violation, or any question concerning her integrity, but is solely her own right to do so." Anti - Rape Task Force, State University of New York at Buffalio, University of Buffalo. These two elements are converging and is it how and when which the more serious discussions show be focused. Also, and reports which are trace'able concerning this topic should likewise be added.

Mr. Roger M. Christian

Roger's Fashions and Trendsetters News .


Chapter One:
 Eight Part Series:
Styles, fashions, trendsetters, and what women are wearing represents one of the most interesting - fascinating chapters in human creative behaviors.  The great depth, and the powerful creative imaginations necessary to maintain independence of styles are depicted on several fashion runways of the eight major fashions capitals of the world, and countless other communities. 
This has always caught my attention, and not only from the male appreciative admiration of the beautiful female fashions models. More directly from the perspective of the very nimble minds and even harder efforts to make reality what the mind is attempting to produce - which went behind each design.
None the less, it is the importance of this one behavior in which an idenity is derived, and how a society wishes to represent itself which links every other culture to others in a central commonality to produce beauty.  Looking at the present culture of fashions, haute couture, and the importance of its presence within society one has to first look at the foundations of the modern prototypical promotion of the fashions industry.  Yes, and if you really do not know already means I will be writing about Paris, France. Yet one historic personality whose contribution to fashions is little known by most.
King Louis XIV.


The secret to King Louis XIV efforts to centralized power to the crown of the French monarchy from the nobles, who owned most of the territory of France outright, was based upon one clear objective.  To entice their egos from which to eventually seduce them first into Paris,  and then to create their dependency upon his crown.  France was still coming out of  bitter sectarian conflicts which weaken France itself to Spain, and the English trading shipping interests were likewise not helping either.  Nonetheless, France had already established the first Universal institutions of higher education through the establishment of the Isle de France, giving France the highest educated population in Europe, and was since the eight century known as " THE " trendsetter in what people wore in Europe.  Something which really irked Italians all the time-even today.
About that time dance was coming of its age - though play for children, and era.  The additional aspect, and in the conceptual frame  behind the scenes, French political behaviorisms of this era, court jesters were known for their usage to smear a foe in public by their royal sponsors ever so delicately couched behind the role and ruse of comedy.  Yet King Louis needed something in which to modify the noble's behaviors into role functionaries to the pomp and circumstance of his envisioned central royal court culture of The Versailles Palace and it's emerging adjacent community - likewise developed by Louis - where everyone who was someone, personally selected by his crown officals, were likewise to move to from Paris. 
L' ballet entered into the picture as the prolific behavioral central ruse. What an idea, lets act out in full public view what he wanted French society rules to become, through its class of nobles first. Then, and most important, how they are to behave in his royal court. This was included in the various choreographies of dance performance right their in the open public - while at the sametime they, the very same nobles, having to pay the money for the performances  themselves. 
Then in the twist and turn of his own and very nimble genius came the even more brilliant additional idea - behind the pomp and circumstance contained in his vision. He was to create, and to further inspire very, very, very expensive fashion styles for the French nobility.   Selected coutures were invited to his Parisian court carrying the ordered most expensive fabrics and accessories they had, and he showed them how to modify their designs and told how he would help them make a lot of money at the sametime.  He knew this meant that lots of money was going to be spent by the nobles.
The central themes on all going promotionals are ....


The Sun King.
Creativity was immediately fused in the ongoing development, and organizations in his various ballets, The Sun King, and Louis needed terms in order to train what he wanted other dancers to do in the performances.  Thus we have the ballet terminologies of today as a direct result of his additional creative efforts. More importantly these events created the ballet arts as dance genre internationally and were followed up later by establishment of The Paris Opera House - which institutionalized what Louis envisioned in dance.  Then he established the Court Post of ' Haute Couture '. This meant the ' Royal Counts of French Nobles ' had to have one too! Other royals assisted in creating commercial fashion houses.  It was in the evolution of these fashion houses that fashions had to be more creative, along with what Louis had inspired, and thus the first golden age of European fashions emerged as a result during this era. 
As a side note: In Italy, though they were the European main spring of ballet from Chinese origins, was taking to opera at this time in which they have had the cultural lead Internationally ever since. For them, it was a good trade off.
Thus during this cultural new development, Paris was electric'fied.  The ' Court of Louis XIV ' became sought after by younger landed nobles or their sons and daughters who upon arrival upon this culturally awsome scene found out they were not properly attired, and several of their females companions were highly embarrassed outright in the first years of this social French development. Money really flowed into the Parisian couture's pockets who a couple years earlier were begging for bread.  More importantly other nobles through out Europe who could " afford it " made their seasonal ( This, likewise, was the new rage through out European youth nobles too! ) trips to Paris, and then Versailles too - real upper class only tourist trade  sprung out of this time. So everyone had to start paying attention to what they were wearing, and it is here where Louis genius really struct pay-dirt, and very litterally too!  It cost a lot more money, inflation kept up with blooming egos of the nobles to get properly attired, and the younger of the noble classes, and not knowing better either, really went on wild spending sprees, rushed several notes back home asking for more and more money.  Also at this time the tabacco habit struck at this time. Then came their parents, and who, then seeing whats was really going on, were likewise seduced!
Excitment and celebrations were everywhere, and everyone wanted to forget the ole sectarian riffs which just a few years ago existed in France - so a National means of escape was achived at the sametime.  Louis had fashioned his central cultural distraction while his eyes look upon himself becoming the military and political master of all Europe everytime time he saw a European map. This was his goal in the first place.


We're talking about cost, in todays terms, for male court fashions at around $ 5,000.00, and female $ 15,000.00 and the jewlry was going as high as $ 500,000.00 - all being supplied and crafted by the emerging middle class of Paris itself.  Then as the opening of The Sun King Ballet staring as the first " historic " male principal dancer King Louis XIV himself, tights and all, the ruse, or resulting behavior modification was sprung upon the French nobles....
Here is how these promotionals went...
First... Came advance notification of the play bills / invitations and promotions, as well as the dessemination of story - rumor mills by selected court officals to instigate gossip which went on about what was meant by proper dress only, was also part of this new very lavish social function. 
Ballet was considered then by French youth as EXTREME ( Very much like the Moon Walk was during the 80s ), and AWSOME, and Culturally Revolutionary ( the Hip Hop of its day ). Everyone wanted in, especially when it gave you an ' in ' to the new class distinctions being created at the sametime ( It was also at this point in French history which began the causal factor which was to become the bloody French Revolution, as the nobels became further distracted while in Paris from the peoples plight of resulting poverty of their various fiefs.  ).  Remember the quip of ' Court Jesters' a subtile means to attack someone else in public attendence, well Louis was going to have ballet to modify French behavior towards him.
Previous to each performance everyone was properly introduced by the Standard, the guy with the long pole bejewled at the top who would stomp it on the polished marble floor generating very loud and distinct echoing stomps to get total public attention. At the entrance everyone heads truned to see each noble and his lady who were being assured by everyones noble nods signifying that their fashions were individually and thus socially approved. Both men and women were all dressed up in the finest silken lace ' money ' could provide.  The hook ... Another-words everyone was being paraded for approval.  This was deliberately staged too!  Court Jesters?  Hmmmm...  The class behavior he was creating was that everyone was to be seen, and in this staged cultural genre the noble's egos ballooned as a result.  It was here, the noble's resulting emotional vulnerability, that he finally had them on a path to be socioculturally seduced and politically exploited. Then at the ballet itself, they were completely taken by surprise by his deliberate highly sensual grace of his movements, even more so there were females in the audience who were in complete sexual rapture.  Faintings suddenly occured.  This went completely sexually noticed by the more younger males of the nobles all done upon in their extreme lace and wigs, and knew if they were to be noticed by the opposite sex, they better take a lesson from Louis who was demonstrating what court behavior was going to be. SENSUAL and SENSUALLY DRESSED!


Then after the performance was to be followed by a reception.  This meant a change in dressings, and everyone went to where they could get changed.  That meant more money was to be spent, including additional rentals, or construction of Parisian, then Versailles villas, the new chateaus were like palaces themselves, and more of the wealth to pay for this came from the provinces as most of the money in France started to flow into Paris and not Madrid.   
Additional extreme promotions of the new  French culture envisioned by Louis were also instituted, IE. more tasty French Pastries - they hired the best from Vienna, all expensive, and soon even the older - who should have been more wiser - Counts of the French monarachy were likewise seduced as mistresses became likewise a public social normal discourse at the sametime-promoted again by Louis.  The French Cardinal was likewise busy, and thus no immorality statements were ever made or even involvement in French culture.  This created a vast and an expansive fashions industry and from which a very strong French middle class was established and all who knew their loyality was with the king - who gave them this opportunity of wealth. Then Louis objective was absolutely immediate, and from the outset became very clear, and that is to tax them, and from which he was able to have the money to establish a professional army. Then navy.  
Later came his adventures in the Netherlands. Even in some of the battles in which he commanded his troops, he brought both his wife and mistress hand in hand with a selected group of nobles to see his heroic deeds in action.  He himself got hook on needing an audience.  A real show off!
In 16 years the landed nobles had started to incur great debths, some had lost everything within a few years, and had to ask Louis for help from time to time, and soon after centralized political and military power was in his hands, and foreign colonies were likewise being established to create the economic multiplier from royal investments to increase the wealth of France; this paid for his navy.
The French Civilization ever since always maintained this cultural cross nitting of dependent cycles until another genius appeared and that was Chanel Coco. She's Chapter Two!  Hint she made it more of a Womyn's industry. Even with a tip for tat cross dressings. More importantly. she broke this dependency cycle and fashions assumed more cultural independence as a result.  None the less, and along with his additional efforts,  King Louis XIV's influence is behind every lace, sense of pagentry on the various fashions runways all over the world, all still getting their cadence and characteristics from The Sun King.

Gabrielle Coco Chanel


The traditional R.K.O. ( Movie ) Theatre building on 14th street and New York Avenue, Washington, D.C. second floor windows which then housed Arthur Murray Dance Studios - glazed reflecting the afternoon sun's rays. We sat in the second floor manager's office  listening on how as Arthur Murray Dance Instructors,  since the mainstay of the business services female clients, we must know something about female taste in styles, and high profile fashions, and here I was first intorduced to " Coco " as she was called.  Moreover, and as the sales female trainer lifted her head proudly and dominating with her lovely graceful stature, greatly dignified by her years and experiences over the decades in teaching and managing,  she made sure that the popularity of female pants suits, or cross dressing, and loose wear fashions did not come from Yves Saint Laurent [ Her feminist ideals resented his exploitation of her contribution as being his own innovations.], but in very bold revolutionary move from Chanel herself decades before.  This histroic cross dressing step foward move destroyed the corset and capsulated the very cultural avant garde fringe [ Inclusive of early free love European expressions surrounding the sociocultural ethos of the West Bank of Paris, France. ] of the early feminist movement.
I was greatly caught in aw by her central beauty as looked through protraits of her found in Washington, D.C. during the Summer of 1969.
This was my second period of Womyn Studies as well.


Gabrielle Bonheur Chanel
Full name.

Gabrielle was brought into the world in the lovely French community of Saumur, France, 19 August 1883. Following the early French tradition for most females of the time who were not not from the upper classes,[ Coco Chanel's personal life was tragic, beginning with the death of her mother and abandonment by her father by the time she was 12. At 17, she moved to an orphanage run by nuns.] she was educated at the convent's orphanage Aubazine, 1895-1900; then later at theconvent school at Moulins -1900-02.  Upon her accounts to her friends later she did quite well. Though they really had the watch and disipline her all the time.  She grew in the softness of real strength and self-convictions as well, and her head was always turned to masculine strength by men had a force of character.
Did she want have their force of character which allow those who she saw was able to dominate with a very distinct presents in any room or hall once they entered?
Her self focus happen as a consequence of working as a clerk at the Au Sans Pareil hosiery shop, Moulins, 1902-04. Here she started to question, as many other younger females of France of the time were always complaining how the wale bones within their corset were very uncomfortable, and that they felt they were about to faint if they tried to bend over quickly to pick up something which they just droped.  Other complaints were likewise being discussed - as their journals of the times have indicated which mentioned the unmentionable when they had to releave themselves - its was cumbersome in dealing with clothing layers. This was a growing yet hidden concern which grew during various heat waves under the Summer conditions of Pre WWI France itself.
Gabrielle had a personality as well and needed creative outlets.  Aorund the historic bend of her time and era a name was awaiting her. Someone droped a name of Coco a year earlier while looking into her eyes and she kept this in her imagination and growing self-image. She became a café-concert singer, finally using nickname "Coco," openlly in Moulins and Vichy,  Her life grew richer, her beauty grew in attractive stature, and she discovered what she also liked in those she was seen with and made careful critical choices as well as who.  She discovered what power was.
1905-08 her real first venture in adventure lover began while she lived with Etienne Balsan, Château de Royalieu and in Paris. Nonetheless, her earlier uinderstanding of female fashion concerns were given a baisis betweem 1908-09; as first as stage costume designer and grew form the experience of what stich went where and colorization. 
In 1909, Gabrielle Chanel opened a small shop on the ground floor of the Balsan's apartment in Paris - the beginnings of what would later become one of the greatest fashion empires in the world.
During her pre-war era, Chanel met up with Arthur "Boy" Capel, whom she soon fell in love with. With his assistance, Chanel was able to acquire the property and financial backing to open her second millinery shop in Brittany, France. Her hats were worn by celebrated French actresses, which helped to establish her reputation. In 1913, Chanel introduced women’s sportswear at her new boutique in Deauville, in the Rue Gounaut-Biron; Marthe, Countess de Gounaut-Biron (daughter of American diplomat, John George Alexander Leishman), was Chanel's first aristocratic client. Her third shop and successor to her biggest store in France was located in Deauville  France, where more women during the World War I era came to realize that women were supposed to dress for themselves and not their men.

The Revolution" Little Black Dress "
From: The 1000 fragrances Blog.

The Revolution:
Once established in Paris Coco Chanel was very influential on the fashion scene. In addition to the bobbed hairstyle and the unisex style of dressing, she introduced the "little black dress," the use of clingy knits, slacks (in her own wardrobe) and women's bathing suits. Women world wide were about to be released to fully take the plung.

Chanel introduced a bathing suit made out of lightweight, clingy jersey; it still had long sleeves, extended past the knees, and was covered by a long skirt. This sounds like plenty of coverage to us now, but back then the suit caused quite a stir...and a fair share of scandal - pre World War I.

After the great social and cultural rebound after WWI, and the additional need for France itself to be healed - where most of the war was conducted, Coco Chanel was ready.

The real consequnce which Coco Chanel had wasn't just ahead of her time. She was always pushing herself from hidden secrets of her own drives and was always ahead of herself.  Most fahsion observers and editorial boards when they take looks at the work of contemporary fashion designers as different from one another as Tom Ford, Ralph Lauren, Helmut Lang, Yves Saint Laurent, Miuccia Prada, Jil Sander and Donatella Versace, they have noted what they see that many of their strategies echo what Chanel once did. The way, 75 years ago, she mixed up the vocabulary of male and female clothes and created fashion that offered the wearer a feeling of hidden luxury rather than ostentation are just two examples of how her taste and sense of style overlap with today's fashion.

Chanel, her snsual self could not have defined herself as a feminist — in fact, she consistently spoke of femininity drives behind her will to design rather than of any public discourse in the support of feminism.  She realized that the character behind design concepts of her times had to be feminine centered instead of securing male expectations of women of her time and era.  She was fighting male dominance in the fashions industry, and the consequences in which women had to indure as a result - the resulting negative health aspects as well.  Thus " The Littel Black Dress," became the most significant fashions statement in which she allow the latent feelings which women of this time and era felt were allow a voice through her own sociocultural leadership. Between her instincts of really liking males and her awareness of the loss of expectations and aspirations French women suffered meant she had to cross over a very real barrier.  Thus female fashions had to reflect feamle sensual consiousness of body, spirit, and sexuality.  What most have not really understood is that she knew men would simply fall more in love with this revolution image now being seen on the streets, in the churches, and at nightlife ethos..

This meant that comfort, and personal reflections to enjoy ones own body and to add grace to its forms with more relaxing design to fit physical form and activity, personalized colorizations [ The female equal to a  male coat of arms ], and florishes [ Being lacy. ] must be designed to fulfill. Yet her work is unquestionably part of the liberation of women. She threw out a life jacket - the corset, as it were, to women not once but twice, during two distinct periods decades apart: the 1920s and the '50s. She not only appropriated styles, fabrics and articles of clothing that were worn by men but also, beginning with how she dressed herself, appropriated sports clothes as part of the language of fashion. One can see how her style evolved out of necessity and defiance. She couldn't afford the fashionable clothes of the period — so she rejected them and made her own, using, say, the sports jackets and ties that were everyday male attire around the racetrack, where she was climbing her first social ladders.  This was the key in as much as their cost fit the average purse - which she likewised design.  She litterally dressed every women by understanding the key is comfort, but being sexy [ What was a woman's definition of being sexy instead of male definition. ] at the sametime.

She told top the world

" This is who we are."


" The Little Black Dress "
Everyone women has had at least one in their lives.

Hepburn - Coco original - Movie Sabrina
The Ghetto Fashionista Blog

Chanel Iman following the tradition.
Frappelattes website


It was in  Biarritz 1916; fragrance, No. 5 was envisioned, marketed from 1921. She was a leading influence as a film costume designer, and Edit Head was always following her trail as well; this was also apparent when actresses like Audrey Hepburn, Betty Davis, and Myrna Loyd was always asking for her.  Her stylized dominace still exists - ven on Bollywood ( India's Hollywood ).
She was  exiled to Lausanne for affair with Nazi officer[ This fascet is now being looked at.],  Between 1945-53; rue Cambon headquarters reopened and first post-war showing,
Additional notes and acolades have been coming and the list includes:
Broadway musical Coco, starring Katherine Hepburn debuted on Broadway, 1969; company continued after Chanel's death in 1971.
Ready-to-wear introduced from her fashion house 1977.
Karl Lagerfeld was brought in as designer for couture  in1983.    Lagerfeld took over ready-to-wear, 1984; gun manufacturer Holland & Holland acquired, 1996; French beachwear company Eres pruchased, 1997; one licensing agreement with Luxxotica for eyewear. Other fragrances include No. 22, 1921, Cuir de Russie, 1924, No. 19, 1970, and from the House of Chanel, Cristalle, 1974, Coco, 1984, Egoïste for men, 1990, Allure, 1996, and Allure Homme, 1998; launch of Precision skincare line, 1999; introduced line of his-and-hers watches, 2000. Exhibitions: Les Grands Couturiers Parisiens 1910-1939, Musée du Costume, Paris, 1965; Fashion: An Anthology, Victoria & Albert Museum, London, 1971; The Tens, Twenties & Thirties, Metropolitan Museum of Art, New York, 1977; Folies de dentelles: Balenciaga, Cardin, Chanel, Dior…Exposition du 24 juin au octobre 2000, Musée des Beaux-Arts et de la dentelle, 2000. Awards: Neiman Marcus award, Dallas, 1957; Sunday Times International Fashion award, London, 1963. Died: 10 January 1971, in Paris. Company Address: 29-31 rue Cambon, 75001 Paris, France. 

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