The Evolution of Chanel: From Coco to Contemporary Fashion Icon

Chanel, a century-old brand, is recognized globally, known for its iconic perfume worn by celebrities like Marilyn Monroe, and its luxurious tweed two-piece sets and purses that increase in value annually. The video explores the brand's history, including Coco Chanel's controversial past, the creation of signature products, Karl Lagerfeld's 1980s relaunch, and the brand's recent decline in popularity.

Gabrielle Bonheur Chanel, known as Coco, was born on August 19, 1883, in Saumur, France. Her childhood was marked by hardship, including her mother's illness and her father's abandonment after her mother's death when Gabrielle was 11. She and her sisters were placed in a convent orphanage, where she learned to sew, a skill that would later shape her career.

After leaving the convent at 18 in 1901, Gabrielle worked as a sales assistant and seamstress in Moulins while also performing as a cabaret singer. It is rumored that her nickname 'Coco' came from a song she sang, although some believe it derived from the French word 'cocotte,' meaning kept woman. During this time, she became the mistress of Étienne Balsan, a wealthy textile heir, which allowed her to mingle with high society.

In 1910, with financial backing from her lover, Gabrielle opened her first hat boutique, Chanel Mode, at 21 Rue Cambon in Paris. Her designs, which emphasized simplicity and elegance, contrasted sharply with the elaborate styles of the time. Gabrielle famously stated, 'Simplicity is the keynote of any true elegance,' and her hats gained popularity after being worn by actress Gabrielle Doré in 1912.

Following her initial success, Gabrielle expanded her business to Deauville in 1913, where she introduced a boutique selling both hats and luxury leisure clothing. Inspired by the seaside, she created striped jersey blouses, utilizing a fabric previously reserved for men's underwear, which offered comfort and a sensual appeal, diverging from the restrictive fashions of the Edwardian era.

Chanel's designs, characterized by their simplicity and affordability, stood in stark contrast to the restrictive Edwardian fashion of hobble skirts and corsets. Gabrielle's relaxed and casually chic style became a staple, as she enlisted her sister Antoinette and aunt Adrienne to model her creations, effectively using them as a form of advertising.

Gabrielle Chanel emerged as a pivotal figure in the early 20th-century fashion scene, embodying the spirit of women's newfound freedoms and liberties. Her brand gained significant recognition, with Harper's Bazaar declaring in 1915 that 'the woman who hasn't at least one Chanel is hopelessly out of fashion.' Chanel's sporty silhouettes quickly became popular among the fashionable French elite, leading her to open her first couture house in Biarritz in 1916, where she employed 300 workers and launched her inaugural couture collection characterized by uncluttered styles, boxy lines, and shorter skirts.

In 1916, Chanel partnered with Maon Roder, who became the exclusive manufacturer of her signature jersey material. This elastic fabric allowed her to create soft, flowing lines that accentuated a woman's natural shape, coinciding with the decline of corset popularity. Unlike other textiles that were scarce due to World War I, jersey remained accessible and affordable, contributing to the success of her Biarritz shop, which became so profitable that Chanel was able to repay her investor, Arthur Capel, and acquire a larger location at 31 Rue de la Paix in Paris within a year.

Chanel was a trailblazer in women's fashion, being one of the first designers to create trousers for women, including sailor pants and beach pajamas in the late 1910s. These designs combined traditionally feminine motifs with masculine fabrics, a bold move at the time. By the mid-1920s, these styles became staples among affluent women and were integral to the Chanel brand. Her independent lifestyle and androgynous designs, including her bobbed hair, helped popularize the garçon style, which was inspired by Victor Marguerite's 1922 novel 'La Garçonne,' featuring a female protagonist who defied gender norms.

Chanel's designs were deeply influenced by her personal experiences, including her upbringing in a convent, which inspired her use of contrasting lines and the frequent incorporation of black and white in her collections, reminiscent of a nun's habit. Her lover, Arthur Capel, a polo player known for his tailored clothing, also inspired the masculine elements in her early designs. Following Capel's tragic death in a car accident in 1919, Chanel entered a prolonged period of mourning, often wearing black, which ultimately led to the creation of her iconic 'little black dress' in 1926, dubbed by Vogue as 'the Chanel Ford, the frock all the world will wear.'

In collaboration with chemist and perfumer Ernest Beaux, Chanel launched her first perfume, Chanel No. 5, in 1922. The strategic placement of the Chanel name on the perfume ensured an immediate association with the brand's identity. The number '5' held special significance for Gabrielle, who noted, 'I show my collections on the 5th,' further intertwining her personal narrative with her brand's legacy.

On May 5th, Gabrielle 'Coco' Chanel aimed to create a perfume that embodied the liberated feminine spirit of the 1920s, moving away from the heavy scents associated with women of the night. Despite initial hesitations from perfumer Ernest B regarding the costly jasmine ingredient, Gabrielle insisted on its prominence, declaring her desire to craft the most expensive perfume in the world. The design of the perfume bottle, influenced by Arthur Capel's toiletry bottles and whiskey decanters, featured a sleek and simple square design, enhancing its longevity and recognizability.

In 1924, Gabrielle entered into an agreement with Pierre and Paul W. Heimer, directors of the perfume and cosmetics house Bourgeois, to establish Parfum Chanel. The Weimers provided full financing for the production, marketing, and distribution of Chanel No. 5 and other Chanel products, receiving 70% of the profits, while Gabrielle, who licensed her name and withdrew from business operations, received only 10%. Discontent with this arrangement, Gabrielle referred to Pierre Weimer as 'the Bandit who screwed me' and spent decades fighting for full control of Parfum Chanel.

Inspired by opulent jewelry from her aristocratic lovers, Gabrielle recruited Count Aan Deont and Duke FCO de Verana in the 1930s to open an atelier dedicated to costume jewelry, a significant aspect of the Chanel brand's aesthetic. Initially featuring high-end pieces with precious gems, by the end of the decade, the collections began to include faux pearls and stones. Gabrielle famously stated that 'jewelry is junk' and should be worn for its decorative value rather than its monetary worth, helping to elevate the perception of costume jewelry post-Great Depression.

In 1930, Gabrielle traveled to Hollywood, where she collaborated with MGM producer Samuel Goldwyn to costume the films 'Toight or Never' (1931) and 'The Greeks Had a Word for Them' (1932). This partnership was mutually beneficial; Goldwyn could associate his leading ladies with the fashionable Chanel brand, while Gabrielle expanded her audience and connections within Hollywood's elite. During this period, she began incorporating the Camellia flower into various Chanel products, a motif that would become synonymous with the brand.

Following World War II, Gabrielle closed multiple Chanel shops, resulting in the loss of jobs for 4,000 female employees. Some speculated that this was a retaliatory move against those who had previously sought better wages and working conditions. Despite the lack of clientele for couture, demand for Chanel goods remained high, as American soldiers purchased perfumes and accessories as souvenirs. The sales of fragrances surged, increasing tenfold from 1940 to 1945, amounting to $9 million annually, equivalent to over $150 million today.

After the Nazi occupation of France in 1940, Gabrielle sought refuge at the Hotel Ritz, which served as the German military's headquarters. During her stay, she met Hans Gunter Von Dinklage, who was associated with the German Embassy and rumored to be a spy. This period marked a controversial chapter in Gabrielle's life, intertwining her personal and professional narratives amidst the backdrop of war.

Gabrielle Chanel, known for her long-standing anti-Semitic views, became embroiled in controversy during World War II due to her alleged collaboration with the Nazis. Evidence has emerged indicating her involvement as an informant, motivated by a feud with the Jewish owners of Parfum Chanel, the Wertheimers. With the Nazis seizing Jewish-owned businesses, Chanel sought to reclaim control over Chanel Number Five, writing to German officials in May 1941 to assert her rights, claiming the perfume was legally abandoned by its Jewish owners. However, unbeknownst to her, the Wertheimers had already transferred control of the business to Felix Amo, a Christian French businessman, prior to their flight to America.

Following the war, Chanel's wartime activities led to her arrest and interrogation by the Free French Purge Committee. Despite a lack of evidence, she was released, allegedly due to intervention from Winston Churchill, a friend from her past. However, her reputation suffered greatly, prompting an eight-year exile in Switzerland. During this time, Chanel established a Swiss perfumery, claiming that the Chanel Number Five sold by the Wertheimers was no longer authentic. In May 1947, after negotiations, she was awarded $400,000 in wartime profits, a 2% royalty on all Chanel Number Five sales, and a monthly stipend, making her the richest woman in the world at that time.

By the 1950s, the Chanel brand had shifted focus, becoming more renowned for its perfume than its clothing, as Gabrielle's couture house remained closed during the war and her exile. The fragrance gained immense popularity, notably endorsed by Marilyn Monroe, who famously stated she wore nothing but Chanel Number Five to bed. This period marked a significant change in the fashion landscape, where male designers like Christian Dior dominated the post-war market with extravagant designs, contrasting sharply with Chanel's philosophy of understated elegance. Chanel openly criticized Dior's work, expressing disdain for the exaggerated femininity of his designs, which she felt did not represent women authentically.

At the age of 71, Gabrielle Chanel was inspired to return to the fashion industry, motivated by her discontent with the male-dominated post-war fashion scene. Funded by the Wertheimers, she sought to reopen the House of Chanel, marking a significant comeback in her career and a challenge to the prevailing trends set by her male contemporaries.

Gabrielle Chanel launched her comeback collection in 1954, which received mixed to negative reviews from the French press. Critics were not only upset about her wartime activities but also viewed the collection as conservative and reminiscent of her earlier work. In the United States, the collection was polarizing; some hailed it as a breakthrough, particularly in contrast to Christian Dior's 'New Look,' which had sparked protests. The Miami News criticized Chanel's designs, suggesting they were outdated for the modern era.

Despite a rocky start, Chanel proved critics wrong by introducing the 255 handbag, also known as the classic flat bag, in 1955. This bag was revolutionary as it was the first luxury handbag for women to feature a shoulder strap, allowing for hands-free convenience. The design included multiple pockets for specific items like lipstick and money, which were groundbreaking innovations at the time, transforming women's bag design permanently.

In 1957, Chanel released the first two-tone shoe, characterized by a less than 2-inch heel and an elastic strap, aligning with the brand's philosophy of comfort and elegance. Initially available in black and beige, these slingback heels were later offered in various colors and were dubbed 'Cinderella's new slipper' by the press. This addition completed the signature Chanel look, which included timeless pieces like little black dresses and quilted flat bags.

As Gabrielle Chanel aged and faced scrutiny due to her controversial past, the brand sought out new ambassadors to represent Chanel's image. Marie-Hélène Arnaud was chosen as a prominent model for the 1954 comeback collection, eventually becoming Gabrielle's muse and replacing her as the face of the brand. Similarly, American actress Suzy Parker developed a close relationship with Chanel, even naming her daughter after Gabrielle. Despite rumors of romantic involvement, historians like Justine Picardi describe their dynamic as a blend of mothering and mentoring.

Throughout the 1960s, Chanel maintained its popularity, with actresses such as Romy Schneider, Jane Fonda, and Catherine Deneuve becoming associated with the brand. Schneider, who had a close friendship with Gabrielle, wore Chanel in the 1962 film 'Picnic at Hanging Rock,' while Deneuve served as the spokesmodel for Chanel No. 5. Additionally, former First Lady Jackie Kennedy was known for her fondness for Chanel, often wearing the brand or its authorized counterfeits throughout the 1970s.

The infamous pink Chanel suit worn by Jacqueline Kennedy in 1963 during her husband's assassination became one of the most recognizable pieces of clothing of the era. Gabrielle 'Coco' Chanel passed away in 1971 at the age of 87, leaving the fashion world uncertain about the future of the Chanel brand due to her not naming a successor.

Following Chanel's death, designers Ivon Dell and Jean Koban, along with Philip Goubour, took over the fashion house. Dell and Koban were responsible for the Couture line, while Goubour created the brand's first ready-to-wear collection in 1977. However, the two lines lacked consistency, leading to a decline in Chanel's brand identity, with Goubour noting the difficulty in maintaining the look without exact repetition. Critics argued that the ready-to-wear line diminished the brand's mystique by becoming too accessible.

By the end of the 1970s, Chanel faced serious decline, with only Nancy Reagan remaining a notable public figure associated with the brand, contrasting sharply with the trendy ambassadors of previous decades. By the early 1980s, Chanel's accessories, cosmetics, and fragrances were the only products preventing bankruptcy.

In 1983, over a decade after Gabrielle's passing, Chanel's owner Alan W. Heimer appointed Karl Lagerfeld as the artistic director, a decision hailed as one of the greatest in fashion history. Lagerfeld, born in Hamburg, Germany, in 1933, had a comfortable childhood and discovered his passion for fashion while studying art and history in Paris. He worked for Pierre Balmain and designed for various brands before joining Fendi in 1965, where he created the iconic double F logo.

Lagerfeld's innovative designs at Fendi helped the brand gain a foothold in the US and Japanese markets. By the 1980s, Chanel was struggling, but Lagerfeld saw the challenge as an opportunity, famously stating that everyone believed the brand was dead. His salary of one million dollars per collection reflected the high stakes involved. For his debut Chanel Couture collection in 1983, Lagerfeld chose to reinterpret the brand's most recognizable motifs rather than completely overhaul them, earning praise from critics for his respectful homage to Chanel's legacy.

Lagerfeld's early collections drew inspiration from Chanel's heyday in the 1920s and 30s, with him emphasizing the importance of the classic Chanel suit from the 1950s while also acknowledging the earlier work of Gabrielle. Despite the acclaim from critics for his understanding of modern consumers, some of Chanel's long-standing clients were less enthusiastic about his design direction.

In 1983, Karl Lagerfeld took over the ready-to-wear line of Chanel, initiating a significant revamp of the brand. He reimagined the iconic 255 handbag and began incorporating the interlocked CC monogram into his designs, which became a staple of Chanel's iconography. Throughout the 1980s, Lagerfeld maintained the classic Chanel aesthetic, utilizing materials like tweed, chains, pearls, and neutral colors, but by the 1990s, he adopted a more experimental approach, contrasting sharply with the minimalist designs of Gabrielle Chanel.

Lagerfeld's designs introduced a new level of sex appeal and femininity to Chanel, featuring plunging necklines, sheer fabrics, tight dresses, higher heels, neon colors, and short hems. This starkly opposed Gabrielle Chanel's famous disdain for showing knees, as she once remarked, 'the knee is a joint... do you think that should be shown?' Lagerfeld openly disagreed, arguing that Chanel's standards for elegance should not be timelessly enforced, citing her own radical designs in her youth.

Lagerfeld's collections in the 1990s drew inspiration from black streetwear, incorporating elements like bucket hats, denim, large chains, tracksuits, sneakers, and rainbow hair extensions. His embrace of logo mania, influenced by designer Dapper Dan, marked a significant shift in Chanel's aesthetic. However, this change was met with criticism, as media outlets noted that Lagerfeld seemed to be losing touch with the brand's heritage, attempting to translate young black style for a predominantly white clientele.

Despite facing criticism for straying too far from Chanel's classic silhouette, Lagerfeld succeeded in revitalizing the brand, attracting new buyers. Critics pointed out that he focused excessively on modern trends rather than the dependable clothing that long-time Chanel customers desired. However, Lagerfeld remained unfazed by the backlash, asserting that it was his responsibility to update the brand's image and redefine what Chanel could be.

Interestingly, the era of Chanel under Lagerfeld, despite its controversial reception at the time, is now fondly remembered. Chanel No. 5 continued to thrive, with actress Carole Bouquet as its face since the mid-1980s. Handbags became one of the brand's most profitable products, famously carried by Princess Diana, leading to the creation of a handbag named in her honor. In 1987, Chanel launched its first line of watches, inspired by the shape of its perfume bottles, culminating in the release of the J12 in 1999, celebrated as the first truly unisex watch.

Lagerfeld cultivated a collection of model muses that included iconic figures such as Naomi Campbell, Cindy Crawford, Helena Christensen, Kate Moss, Linda Evangelista, Devon Aoki, Claudia Schiffer, and Amber Valletta. These models embodied Lagerfeld's vision of the modern Chanel woman, further solidifying the brand's contemporary appeal.

The transcript discusses the prominence of models on the catwalk, particularly Claudia Schiffer, who was discovered by Karl Lagerfeld at age 19. Schiffer became the face of Chanel, making her runway debut and later opening and closing multiple Chanel shows, being honored as a Chanel bride 11 times throughout the decade.

As Chanel entered the 2000s, Lagerfeld expanded the brand's offerings, launching the first cruise collection in 2000. In 2001, Kate Moss became the face of Chanel's new perfume, Coco Mademoiselle, which aimed to attract a younger audience, featuring Moss with a short dark pixie cut reminiscent of Chanel's original style.

In 2004, Nicole Kidman was appointed as the brand ambassador for Chanel No. 5, with a commercial directed by Baz Luhrmann. Kidman, who received an Oscar nomination for 'Moulin Rouge' that same year, frequently wore Chanel, aligning with the brand's expectation for its ambassadors to represent Chanel at high-profile events.

Chanel shows under Lagerfeld became known for their theatricality, featuring collections in diverse settings such as cruise ships and ski resorts. In 2005, Chanel held its first show at the Grand Palais in Paris, marking the beginning of a yearlong partnership that led to some of the brand's most extravagant shows.

In 2006, Chanel sponsored the annual Met Gala, with Karl Lagerfeld and Nicole Kidman serving as co-chairs. Princess Caroline of Hanover was an honorary chair, honoring her mother's historical connection to the Chanel brand. Notably, Princess Caroline's daughter, Charlotte, would later become a Chanel ambassador in 2020.

In 2006, Keira Knightley replaced Kate Moss as the face of Coco Mademoiselle amidst Moss's drug scandal. Knightley starred in various Chanel commercials, including a short film directed by Lagerfeld, where she portrayed a fictionalized version of Coco Chanel. Her relationship with the brand was significant, as she embodied its casual elegance.

Chanel's products made notable appearances in popular media, including the original 'Sex and the City,' where the character Samantha Jones frequently wore Chanel, reflecting a modern, empowered woman. This trend continued in subsequent films, with Carrie Bradshaw also adopting Chanel styles. Additionally, Chanel was featured in the teen drama 'The OC,' with actress Mischa Barton often showcasing Chanel's feminine fashion.

The character Marissa Cooper from 'The OC' became an iconic representation of teenage fashion, particularly through her high-fashion wardrobe that made her the envy of peers. For many Millennials, Marissa's portrayal introduced them to the Chanel brand, which also featured prominently in the 2006 film 'The Devil Wears Prada.' In this film, Anne Hathaway's character, Andrea Sachs, directly references Chanel during her makeover, highlighting the brand's influence in popular culture.

Chanel was one of the first major fashion brands to collaborate with 'Gossip Girl,' as costume designer Eric Damon noted the initial challenges in securing designer participation. However, after the success of the first season, interest surged, particularly from larger designers, with Chanel being among the first to join. This partnership allowed Chanel to position itself as a brand not only for the wealthy but also for the young and fashionable, with characters like Blair Waldorf and Serena Vander Woodson embodying this image.

The life of Coco Chanel garnered significant Hollywood attention in the late 2000s, leading to several films about her life. The made-for-TV movie 'Koko Chanel' premiered in 2008, followed by 'Koko Chanel and Igor Stravinsky' in 2009, which explored her rumored affair with composer Igor Stravinsky. The biopic 'Coco Before Chanel,' released in 2009 and starring Audrey Tautou, focused on Chanel's early life and career, conveniently omitting her controversial Nazi affiliations, thus preserving her public image.

In the 2010s, Karl Lagerfeld began to embrace new muses, starting with model Cara Delevingne, who first walked for Chanel in the 2012 fall/winter haute couture show. Lagerfeld praised Delevingne for her vibrant personality, stating she was 'full of life' and 'wild yet beautifully brought up.' Delevingne was later announced as a new face of Chanel in 2014, marking a shift towards a younger demographic for the brand.

Chanel's strategy in the 2010s included recruiting teenage brand ambassadors, with Lily-Rose Depp becoming an ambassador in 2015, followed by Willow Smith in 2016 and Kaia Gerber in 2017. Both Depp and Gerber, known as 'nepo babies,' had mothers who were former muses for Lagerfeld. Depp, in particular, maintained a close relationship with Chanel, frequently appearing on runways and at high-profile events, which may be attributed to her fitting the 'gamine' body type that aligns with Chanel's aesthetic.

Despite Chanel's popularity in the 2010s, the brand faced criticism for weaker design efforts, especially on red carpets. This period saw many celebrity ambassadors, including Kristen Stewart, experiencing what is known as the 'Chanel contract curse.' Stewart, who befriended Lagerfeld in 2017, was seen as a fitting representative for a brand that initially gained fame for its rejection of traditional femininity, yet her association did not translate into consistent fashion success.

The discussion highlights the struggles of Karl Lagerfeld in balancing femininity in fashion, particularly with actresses like Miley Cyrus, who often wore Chanel but integrated it into her distinct style. Lagerfeld faced significant controversies, including allegations of sexism, racism, and fat phobia. His controversial statements, such as claiming Gabrielle Chanel was 'never ugly enough' to be a feminist and his dismissive remarks about models and body image, sparked outrage. Notably, he controversially featured Claudia Schiffer in yellow and blackface for a 2010 editorial, which drew criticism for his choices in model representation.

By the 2010s, Lagerfeld had been designing for Chanel for over 30 years, but critics noted a decline in creativity, with many collections appearing repetitive and uninspired. Despite successfully reviving Chanel's prestige and signature pieces, sales of clothing items reportedly plummeted as brands like Gucci and Prada gained dominance in the youth market. Lagerfeld passed away in February 2019 at the age of 85, with his final collection serving as a tribute to his legacy, attended by friends and marked by a moment of silence.

Following Lagerfeld's death, Virginia Vard was appointed as the artistic director of Chanel, a choice seen as fitting given her long tenure with the brand since 1987. Vard had previously been the director of the creation studio and was highly regarded by Lagerfeld, who referred to her as his 'right hand.' Her first solo collection in 2020 aimed to honor both Gabrielle Chanel and Lagerfeld but was criticized for its lack of innovation and overemphasis on minimalism, with many observers noting that the set design overshadowed the collection itself.

Despite Vard's efforts, subsequent collections have been perceived as increasingly disappointing, with critics labeling the looks as repetitive and uninspired. The brand's ambassadors, including Kristen Stewart, Margot Robbie, and Penelope Cruz, have been dressed in outfits that have drawn negative reactions online, with calls for them to be released from their Chanel contracts. New faces like Johnny Kim, Sadie Sink, Margaret Qualley, and Whitney Peak have been introduced, with Peak replacing Keira Knightley as the face of Coco Mademoiselle after 16 years, although her rise to fame has been linked to a failed reboot of Gossip Girl.

The discussion highlights the contrast between modern Chanel ambassadors and those from the 1990s and 2000s. While the new faces bring freshness to the brand, they lack the style identity and star power that resonated with Chanel's audience in the past. Unlike previous ambassadors who integrated Chanel into their personal style, the current ones appear more like mannequins, often dressed in head-to-toe Chanel outfits that feel overly promotional, as if they should carry a '#sponsored' sign.

Chanel's strategy of product placement in media is evident, particularly in shows like 'Emily in Paris,' where viewers are bombarded with Chanel logos. This trend extends to the 2021 biopic 'Spencer,' featuring Princess Diana, who had a limited history with the brand. The speaker humorously notes that Kristen Stewart looked better in Chanel designs for the film than in her usual attire.

Concerns have been raised about Chanel's declining product quality alongside rising prices, exemplified by the controversial 2021 Advent calendar priced over $800 for plastic trinkets. The iconic 255 purse, first sold for $220 in 1955 (equivalent to nearly $2,500 today), saw its price rise to $1,000 in the 1980s (about $3,700 today). However, from 2014 to 2022, the price of the classic Chanel flap bag surged from $4,400 to $8,800, effectively doubling in less than a decade, leading to speculation that Chanel aims to position it as a luxury item comparable to the Birkin bag.

As the 2023 Met Gala approaches, themed 'Karl Lagerfeld: A Line of Beauty,' there is anticipation regarding Chanel's presence. Although wearing Chanel is not mandatory for attendees, the speaker predicts that many celebrities will misinterpret the theme, resulting in an abundance of Tweed suits and Chanel logos on the red carpet. The expectation is that underwhelming designs will dominate, despite the fact that these ambassadors have access to the brand's archives.

The speaker acknowledges the challenge of remaining relevant in the fashion industry for over a century, commending Chanel for its revolutionary contributions to fashion despite its ups and downs. The discussion concludes with a question about the future of Chanel and potential celebrity fits for the brand, inviting viewers to engage with the content.