Chanel - The All-Things Chanel Thread

Frederic01

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I noticed there wasn't a thread particularly dedicated to Chanel, so hopefully this is okay and will be a place to post everything related to the Chanel universe.

Chanel will present it's Cruise 2023 Collection in Monaco this year in May. Exact Location TBC.

EXCLUSIVE: Chanel to Unveil Cruise Collection in Monaco in May
The French fashion house, which has long-standing ties to the principality, is deepening its relationship with brand ambassador Charlotte Casiraghi.

BY JOELLE DIDERICH / FEBRUARY 8 2022 1:00AM

Chanel-S21-Campaign-5.jpeg
The making of Chanel's spring 2021 advertising campaign starring Charlotte Casiraghi


PARIS – Chanel is deepening its relationship with brand ambassador Charlotte Casiraghi, choosing her native Monaco as the destination for its cruise 2023 collection.

Creative director Virginie Viard will unveil the line on May 5 in the tiny principality, which is a byword for glamour and has served as a setting for movies including “To Catch a Thief” and “GoldenEye.” Barring any last-minute hitches, it will be the brand’s first cruise show with an audience since May 2019, when Viard made her debut.

Chanel did not specify the venue for the show, but noted it presented its Métiers d’Art collection at the Monte-Carlo Opera House in 2006.

Casiraghi featured prominently in the French fashion house’s spring haute couture show, appearing in teaser images and a short film screened at the venue, and opening the show on horseback. The granddaughter of American film star Grace Kelly shot her first ad campaign for Chanel in Monaco, and also animates a bimonthly literary event that acts as a kind of super-chic book club for Chanel-ites.

In a statement, Chanel highlighted its longstanding ties to the area. Founder Gabrielle “Coco” Chanel had her villa La Pausa built in 1929 in nearby Roquebrune-Cap-Martin, overlooking Monaco, and the brand’s late creative director Karl Lagerfeld made La Vigie, another villa in the same town, his summer residence from the end of the 1980s to the beginning of the 2000s.

La Vigie was also the location for Casiraghi’s wedding reception in 2019, for which she wore a white satin bustier dress from Chanel’s spring 2019 haute couture collection, the last designed by Lagerfeld.

“By choosing to present the 2022-23 cruise show in Monaco, Virginie Viard seals and prolongs Chanel’s ties with the principality. This relationship is perfectly embodied by Charlotte Casiraghi, ambassador and spokesperson for the house since 2021, president and founder of Les Rencontres Philosophiques de Monaco and patron of the Jumping International de Monte-Carlo,” Chanel said.

Speaking to WWD ahead of the couture show, Bruno Pavlovsky, president of fashion and president of Chanel SAS, indicated that Casiraghi would continue to play an important role in the brand’s communications.

“It’s a very beautiful collaboration in every sense — intellectual, philosophical. There’s a real affinity between Charlotte and Virginie, and Charlotte and Chanel,” he said. “It’s a story that is always being rewritten.”

Lagerfeld, a close friend of Casiraghi’s mother, Princess Caroline of Monaco, also had a separate permanent residence in the principality, which recently hosted an auction of his estate.

While Lagerfeld was known for staging shows as far afield as Dubai, Singapore and Cuba, Viard has stuck closer to home, especially since the coronavirus pandemic has made international travel impossible for a whole section of clients and editors.

Chanel’s cruise 2022 collection was unveiled in Les Baux-de-Provence with only a smattering of VIP guests in attendance. The year before that, the brand canceled its planned show in Capri due to the coronavirus pandemic, and presented the collection through a video.
WWD
 
Virginie better bring out her A game and make it fun. That the whole point of cruise show under Karl. Beside the traveling to different countries extravaganza, cruise shows are always more practical and fun and less serious than his métier d'arts and rtw.

It's better not be an Hedi Céline situation, where they staged the whole show for a collection that look like it could have been a lookbook.
 
That Paris Monte Carlo collection was splendid! Actually my first time buying Metiers d’Arts clothes was from that collection! The fabulous campaign with Irina! Fabulous…
No hope for the collection Virginie will present tho.

She should present it at La Vigie…
 
Instead of sending out random collections season after season, she should have considered re-creating those old shows under Karl with some modern twists, which is probably the best solution for the brand right now!
 
Christian Dior and Coco Chanel Are the Subjects of a New Apple TV+ Show
“The New Look” will examine the rise of Dior’s career as Chanel reigned as the most famous designer during the World War II era.

BY LAYLA ILCHI / FEBRUARY 10 2022 2:20PM

coco-chanel.jpeg


Two of fashion’s most iconic designers are the subject of a new Apple TV+ series.

The streaming service announced on Thursday its new project, titled “The New Look,” which offers a dramatized take on the stories of Christian Dior and Coco Chanel, focusing on the former fashion designer’s meteoric rise and how he dethroned the latter as the world’s most famous fashion designer. The show is set against the World War II Nazi occupation of Paris and is inspired by true events.

According to Apple TV+’s press release, the series “centers on the pivotal moment in the 20th century when Paris led the world back to life through its fashion icons.” The show will also include the stories of Pierre Balmain, Cristóbal Balenciaga, Hubert de Givenchy, Pierre Cardin and Yves Saint Laurent.

Emmy-winning actor Ben Mendelsohn, known for his role in Netflix’s “Bloodline,” has been cast to play Dior. French actress Juliette Binoche, best known for her roles in “The English Patient” and “Chocolat,” will play the role of Chanel.

The series’ title pays homage to Dior’s first collection in 1947 where he introduced the “new look,” a style featuring rounded shoulders, a cinched waist and a full skirt. The new look celebrated femininity and women’s fashion at a time following the many years of utilitarian style clothing during the war.

A release date for “The New Look” has not yet been revealed and filming has not yet started, but the show will be filmed exclusively in Paris.
WWD
 
The nostalgic 2022 SS collection will hit the store soon, according to some sales and VIPs, it already got sold out even before the sell starts.....Damn this woman is like an advanced edition of MGC, worse design, better selling.
 
The nostalgic 2022 SS collection will hit the store soon, according to some sales and VIPs, it already got sold out even before the sell starts.....Damn this woman is like an advanced edition of MGC, worse design, better selling.
No, MGC is still an advanced edition because the clothes get into production and then sells good. The runway collections have been more limited in terms of production since the beginning of the pandemic so, almost everything is sold through pre-order and what hits the stores go really fast.

Chanel has always been big in terms of pre-orders. That’s why Karl shows were so crucial because it created a moment that excited the customers enough to pre-order in mass. And they managed to still sell well with the additional production.

But Dior is an interesting case. I wonder is they are doing that much pre-order nowadays as MGC’s collections are very « repetitive ». There’s a consistency in terms of silhouettes and cuts that make it easier for clients to go every season in the stores (or have their little personal presentation at home).
 
Margot Robbie Gives a Read of Her Literary Taste in Chanel Video
The Australian actress and producer loves nothing more than the escape offered by a good book.

BY LILY TEMPLETON / APRIL 8 2022 1:21PM


Screenshot 2022-04-10 at 7.17.16 am.png
Margot Robbie COURTESY OF CHANEL

ESCAPE KEY: “I think I read for the escapism, the same reason I love movies,” said Margot Robbie in the latest instalment of Chanel’s “In the Library With…” released today.

The Australian actress and producer reveals some of the books that swept her away in this eight-minute episode of the French fashion house’s Rendez-vous Littéraires Rue Cambon (literary gatherings at Rue Cambon, in English) series.

Robbie revealed that she enjoys cutting away from the world with a book and a cup of tea in her reading nook, owing to a childhood habit of climbing into a tree or the roof for some respite from the hubbub of her busy family home.

One of the first destinations she escaped to was the fantasy world of J.R.R. Tolkien, which she discovered at age 8 when a teacher read “The Hobbit” in class. “As soon as she started reading it, I was so hooked,” Robbie remembers, recalling that her impatience to know what happened next led her to pick up the book from her older sister.

Up next for the young voracious reader were a number of book series, starting with Harry Potter, in which her husband, British film producer Tom Ackerley, appeared as an extra at age 11; American series “Nancy Drew”; and “The Famous Five” and “The Secret Seven” adventure and detective novels by English children’s author Enid Blyton.

Becoming an actress then a director changed her relationship to the written word. “It’s really hard to read a book without thinking about it in a work sense,” she says, revealing she enjoyed scripts, thanks to a format that allows her to get through them in a couple of hours.

Robbie also expressed her belief in the power of words, be it to unlock a character or even change her experience while traveling. “It could be one line and it can change everything,” she feels.

Take Ernest Hemingway’s “The Sun Also Rises,” which was recommended to her just before she went backpacking in Europe at age 18. Despite being initially unsure about the title when she picked it up before beginning her journey, she said the book “became everything” to her once she arrived in the Spanish city of Pamplona for its Running of the Bulls festival.

Harper Lee’s “To Kill a Mockingbird” — one of the few school-time readings she actually enjoyed — is a book she has returned to several times. “The use of language and her vocabulary is quite remarkable,” she said, revealing that her appreciation led her to name her dog Boo Radley after one of the characters.

When asked about her favorite books, she named “Five People You Meet in Heaven,” a philosophical novel by American author Mitch Albom; and “Animals” by Emma Jane Unsworth.

Other volumes she called out include “Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ‘N Roll Generation Saved Hollywood” by Peter Biskind, and “The Magicians,” a “kind of grown-up ‘Harry Potter’” she is currently reading.

Although she does enjoy love stories and those featuring male duos, narratives around female friendships hold a special part in her bookshelf as their depiction with “that emotional weight that they do have in real life” are quite rare.

“Women will agree that their friendship with their best girlfriend is hugely important,” she concludes.

Previous videos in the series have explored the literary tastes of Chanelambassadors Tilda Swinton, Margaret Qualley and Charlotte Casiraghi.
WWD
 
I think it's time we accept that the buzz around the brand that Karl could generate, is not going to come back. VV makes perfectly acceptable clothes, but they just lack the spark and wit Karl brought to his collections even when they were the same type of clothes that Virginie is making now.
 
Idk if this is the right thread for this. But I was looking in Chanel to get my mom some earrings or a brooch or something for her bday and there is absolutely nothing interesting in there. When Karl was there I feel like there would always be some kind of unique fun jewelry to choose from but this new stuff is so bland
 
This looks a bad sign of what's to come for Chanel...
LVMH, Chanel to Harmonize CSR Reporting at Supplier Level
The cooperation was unveiled during an all-day LVMH event that also revealed a partnership support program with its suppliers.

By RHONDA RICHFORD
DECEMBER 15, 2023, 12:16AM


FHCM Pascal Morand, LVMH Antoine Arnault, Hennessy Laurent Boillot, Chanel Eric Dupont
From left: Pascal Morand, Antoine Arnault, Laurent Boillot and Eric Dupont. COURTESY LVMH
PARIS — The luxury world is recognizing that when it comes to sustainability, cooperation is better than competition.

In a groundbreaking tie-up of two of the world’s largest luxury groups, LVMH Moët Hennessy Louis Vuitton on Thursday revealed it will cooperate with Chanel to harmonize corporate and social responsibility reporting and audit schedules at the supplier level. It will also directly support its suppliers through a partnership program titled Life 360 Business Partners, and will launch LVMH Circularity, which will reuse unsold products from across group houses in new projects, among other initiatives.

The initiatives were revealed as LVMH held a full-circle day of sustainability under its Life 360 banner, bringing together brand presidents and creative directors at the UNESCO headquarters in Paris, hosted by the group’s head of image and environment, Antoine Arnault.

LVMH chief Bernard Arnault also acknowledged LVMH and Chanel working together. “The environmental challenge redefines the usual rules of competition,” the chairman and chief executive officer said. Arnault said that competition should be on design and creativity, and businesses can share information.

“I believe it is our duty to know how to rise above the usual patterns. This is why we have chosen to invite certain competitors today,” he added. “Progress of any kind is crucial. We must join forces.”

During the day, the French luxury group discussed its wins, such as meeting its 10 percent energy reduction target at its stores, and where it is facing challenges such as removing fossil fuel-based plastic from its packaging.

The partnership program with suppliers will include financial support and coinvestment, as well as education and other initiatives to bring the suppliers on board as partners, hopefully making any mandatory changes positive rather than penalizing.

“The name of the game from now on for us is going to be Scope 3,” Arnault told WWD, about extending its sustainability reach further afield. Scope 3 is the supplier level.

“It’s the part of our mission that we control the least by definition; however, we are going to try to help our suppliers and our partners be more active on this topic — to train them, and to invest with them in their transition,” he said. Antoine Arnault acknowledged that companies at this level often face big financial challenges to overhaul their businesses.

“However, we cannot compromise,” he added.

Compliance mechanisms will be stringent but supported with training. “It’s quite tough, but we hope they see it as something helpful and that will help them in their transition,” he added, using the example of vintners trying to transition away from pesticides and herbicides but grappling with lower yields at harvest. “We are going to help them transition also financially and find ways to be more helpful toward our common suppliers,” he said.

Competitors to Cooperate
To that end, LVMH will be cooperating with Chanel at the supplier level.

Antoine Arnault said the two groups have the same vision of luxury and “strongly believe that we will need to work together to move faster.”

Mindful of regulatory and antitrust constraints, the groups will coordinate as much as possible on things like sourcing and vetting of suppliers. While the agreement is in its early days, they have several ideas on the table. Audits are one example Arnault shared. The groups hope to create a collective audit system so that suppliers do not have to repeat their work multiple times.

“We basically just started addressing it, but I know that it is really going to be helpful to have partners we work with.”

Chanel SAS president Bruno Pavlovsky spoke on video about building the alliance between the groups that often source from the same suppliers.

“These are collective challenges as all luxury brands are supplied with leather, cotton, silk and cashmere. Only defined alliances will allow us to help the upstream transform,” he said. Businesses and brands will continue to work within their own creative ecosystems.

“There is also an economic challenge. Right now, cotton from regenerative agriculture which meets all the correct criteria will cost more than bottom-of-the-range cotton, so collectively we need to accept that that is the case. I believe that it is clearly by creating alliances and working together on a defined subject that we will be able to make progress,” he added.

Onstage, Chanel supply chain and ecological transition director Eric Dupont said the privately held luxury house came to the decision to work together with LVMH due to the urgency of the climate crisis. “The stakes are higher than one brand or group,” he said. The alliance will see the groups work together on best practices, particularly on leather, and how to define standards for the suppliers.

At the end of the day, LVMH chief Bernard Arnault took to the stage to reiterate the company’s conviction that climate can be a business decision.

“Action for climate and biodiversity will only be effective if it is seen as a real industrial strategy. The reduction in greenhouse gas emissions cannot be improvised. The protection of biodiversity cannot be improvised. The shift in the agricultural model means that regenerative agriculture cannot be improvised. All these objectives can only be achieved through thoughtful, documented strategies,” he said.

Bernard Arnault also acknowledged LVMH and Chanel working together. “The environmental challenge redefines the usual rules of competition,” he said. Arnault said that competition should be on design and creativity, and businesses can share information.

“I believe it is our duty to know how to rise above the usual patterns. This is why we have chosen to invite certain competitors today,” he added. “Progress of any kind is crucial. We must join forces.”

Much of the day was focused on how luxury players can work together, even from sectors as diverse as spirits to fashion.

The French Fédération de la Haute Couture et de la Mode executive president Pascal Morand said the organization has been working intensively behind the scenes to foster collaboration between the houses.

“The main problem of the fashion industry itself is a volumetric problem,” he said, highlighting that the garment industry turns out about 130 billion pieces a year. Morand has also been working with the European Parliament on crafting some rules that will regulate the fashion industry, including the Eco-design for Sustainable Products Regulation.

Morand said the current proposals are focused on durability and functionality and ignore other factors, including fabric composition, as well as brand value. As a result, there is a paradox in the industry where sometimes luxury products are poorly rated on that scale, or vice versa, he said. “It’s not a case of bad intentions, but it’s a complex system,” of the hard metrics that are proposed.

Changing this system for the long term requires a combination of global governance and legislative solutions, alongside the private sector. At this stage, cooperation is needed to get accurate data and granularity needed to transform the industry.

“This is why we do work with each other…in search of rigor,” he said.

If the day was a music festival, the rock star was of course a McCartney, with Stella taking the stage in conversation with Arnault. The designer and animal advocate started her line in 2001.

“I’m the grandma of sustainability here,” she joked of her 20-year-plus advocacy of sustainability. McCartney has never used animal products in her designs, even when she was an outlier in the industry.

Things have changed. “The next generation of people we’re all going to employ, they will want to work in businesses like this,” she said.

“The biggest impact we have in a positive way on the environment is not using animal products. Agriculture is massively damaging to the planet,” she said, adding that working with animals as products can also be damaging to the people that handle the labor. “It can be very harmful to human welfare. I think that should be in the conversation also.”

McCartney discussed her work with LVMH’s Veuve Clicquot to create grape leather and cork soles for shoes, as well as her championing of Mirim, a plastic-free mushroom-based leather, which is poised to scale up.

“Scalability is the only real answer, because everyone in here — we have businesses to run, right? It’s the only way to swap out bad business. Innovation is really exciting,” she said.

McCartney had also been present at COP28 in Dubai. “You can lose a little bit of hope in that room; here I have a little more hope,” she said about bringing the various stakeholders together at the daylong conference. She encouraged the LVMH employees to be innovative to tackle issues from new positions. “You have to cooperate to solve this problem. Every day at work you need to think outside of the box.”

Creative Directors Taking Steps
One example was creating new hangers, said Patou artistic director Guillaume Henry.

He took to the stage with Dior Men’s and Fendi women’s creative director Kim Jones and Dior perfume creation director Francis Kurkdjian to discuss the various efforts at each of their houses.

Henry said when he realized that getting a garment from factory to store took three hangers, the brand reduced it to one with a new design. He also noted that the brand’s core line of white shirts and black blazers, called Essentiels, is still its bestseller.

Jones discussed Dior Men’s collaboration with Parley for the Oceans that has resulted in two collections that are made from recovered ocean plastic as another example. Its denim capsule collection released in September is made with 100 percent regenerative cotton.

He’s taking on other collections and incorporating alternative materials as much as possible. “With 22 collections a year it is a challenge, but we are getting to the point where we can do that,” he said.

Kurkdjian said one of the biggest challenges for the industry is going to be changing consumers’ perceptions that quantity, heft and volume equals luxury. Kurkdjian noted the industry has spent decades telling the customer one thing, and now has to work to change that perception.

“Nowadays the challenge is to help the client discover that light and sustainable is precious, more than just big and gigantic. It’s a mindset,” he said.

Many of the brand executives acknowledged that transportation is one of their biggest carbon challenges, and they are working to find solutions including more shipping by ocean or rail instead of air freight or trucks.

Packaging is another challenge, both at the brand and the group level, with eliminating plastic a major roadblock. The group will also examine its advertising and media practices, including how photo shoots are conducted.

Speaking from the stage, Arnault was direct: “Things are not getting better, and businesses cannot continue to thrive in a world overheating,” he said.

Arnault added the group is willing to acknowledge that while it is making progress on its goals, there is still a long way to go. “But what I can tell you is that everybody inside LVMH is mobilized that we are conscious that we have a huge responsibility as the leader of the sector, and that we’re taking this into our hands,” he said. “Let’s also be at the same time realistic and honest, our goal is still to continue to grow. And we will continue within that constraint in a way to produce in the best possible way.”
Source: WWD
 
Corporate stuff…
The news I think customers would love to read is maybe Chanel building a factory in Italy too.
 
would love to see pictures from the period between Chanel's death and Karl taking over.
 
would love to see pictures from the period between Chanel's death and Karl taking over.
Coco passed away in 1971 and Karl took over in 83, but there are very few pictures because Chanel (the brand and the fashion house) was completely derelict in the 70s, way too bourgeois and has-been after the various cultural or social revolutions of the 60s and 70s. They did not have any RTW, the beauty was actually sold in Monoprix in France (a bit like the late Woolworth), and they only had made-to-order (they called it "haute-couture" but it was really more made-to-order).

In the 70s, Chanel was near-bankrupt; they never had the means to buy their historic headquarters (from 23 to 31 rue Cambon) and, as of today Chanel is still renting from another French family, more private and more "old-money" than the Wertheimers. They also never had the opportunities to maintain archives too; they started buying back some archives in the 90s.

Alain Wertheimer took over in 76, and Philippe Guibourgé was named in 77 I think, he was previously an assistant to Marc Bohan at Dior and in charge of "Miss Dior", the RTW diffusion line, with Adeline André, for 15 years.

Wertheimer and Guibourgé, with the help of Mendel, finally launched RTW in 79/80:
This is a 1979 archive where Guibourgé explains the outfits and the price, the grey silk suit is at 4,000 francs and the basic red dress at 1,500 francs in 1979, so respectively 2,150 € and 800 € in 2023. He also add that's roughly 1/4 of haute couture prices, but can't give more specifications because he's not in charge of the couture (so now I wonder who was doing it).

Karl replaced Guibourgé in 82; Philippe Guibourgé was presumably already quite sick and passed away in 1986, aged 54.

In short, there were 15 years (1968-1982) of nearly dead Chanel, and you will not find interesting archives because nobody at those times thought Chanel was interesting or worthy of being photographed. Chanel was barely in fashion magazines and they were practically forgotten until Karl woke them up and saved their ***...


It's Guibourgé and not Guy Bourget, and the N°5 T-Shirt with blazers and leather trousers is actually a cool outfit, a lot cooler than many Viard designs.
 
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Coco passed away in 1971 and Karl took over in 83, but there are very few pictures because Chanel (the brand and the fashion house) was completely derelict in the 70s, way too bourgeois and has-been after the various cultural or social revolutions of the 60s and 70s. They did not have any RTW, the beauty was actually sold in Monoprix in France (a bit like the late Woolworth), and they only had made-to-order (they called it "haute-couture" but it was really more made-to-order).

In the 70s, Chanel was near-bankrupt; they never had the means to buy their historic headquarters (from 23 to 31 rue Cambon) and, as of today Chanel is still renting from another French family, more private and more "old-money" than the Wertheimers. They also never had the opportunities to maintain archives too; they started buying back some archives in the 90s.

Alain Wertheimer took over in 76, and Philippe Guibourgé was named in 77 I think, he was previously an assistant to Marc Bohan at Dior and in charge of "Miss Dior", the RTW diffusion line, with Adeline André, for 15 years.

Wertheimer and Guibourgé, with the help of Mendel, finally launched RTW in 79/80:
This is a 1979 archive where Guibourgé explains the outfits and the price, the grey silk suit is at 4,000 francs and the basic red dress at 1,500 francs in 1979, so respectively 2,150 € and 800 € in 2023. He also add that's roughly 1/4 of haute couture prices, but can't give more specifications because he's not in charge of the couture (so now I wonder who was doing it).

Karl replaced Guibourgé in 82; Philippe Guibourgé was presumably already quite sick and passed away in 1986, aged 54.

In short, there were 15 years (1968-1982) of nearly dead Chanel, and you will not find interesting archives because nobody at those times thought Chanel was interesting or worthy of being photographed. Chanel was barely in fashion magazines and they were practically forgotten until Karl woke them up and saved their ***...
There are some ads and photos online, quite interesting, won't post them because nobody has the time for the ridiculous hoops of mod rules in here but seems fascinating to me. You can learn as much from failure as from success, why was this a failure and karl's a success?? questions to ponder. I think the couture was by Yvonne Dudel per google but there isn't much info. Chanel was near bankrupt even with no 5?? that's strange.
 
@yslforever A good history of Chanel's dark ages. Am I mistaken, or wasn't Ramon Esparza a designer for Chanel after she died and before Guibourgé. Gaston Berthelet also designed for Chanel around 1973 (according to an issue of Elle featuring the Chanel collections).

Here's what they were up to in 1973:

1703033693745.jpeg

My scans
 
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He also add that's roughly 1/4 of haute couture prices, but can't give more specifications because he's not in charge of the couture (so now I wonder who was doing it).

Karl replaced Guibourgé in 82; Philippe Guibourgé was presumably already quite sick and passed away in 1986, aged 54.
If I may add, Gaston Berthelot (who came from Dior RTW) is the one who took over the Haute Couture when Chanel died in 1971. But as you said, it was really Made to Order rather than HC because they followed closely her language and existing designs.

After Berthelot, Ramon Esparza (Who came from Balenciaga but was also the master’s partner) took over in 1973 (he only did one collection though). I must say that to have seen some silhouettes he did, it was quite interesting to have a Chanel with a spirit and volumes of Balenciaga. He was then quickly replaced by Jean Cazaubon and Yvonne Dudel in 1974, who worked with Coco and continued to follow her path. They were responsible for the HC up until Karl arrived.

I also must add that while Karl joined Chanel in 1982, he officially started to design the RTW from the Fall 1984 collection. He « ghost designed » the 3 RTW collections prior to his debut as they were officially designed by Karl’s assistants: Herve Leger, Eva Compocasso and Marianne Oudin.

Btw, I’m surprised that the Weirthemers don’t own the historic address. Thank you for the information. I guess they will probably never own it.

Now I wonder if LVMH owns the Vuitton address in Champs Élysées and if they also own the building of their headquarters in Avenue Montaigne…
 

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