FIDM Museum Blog

Chanel day dress, c. 1937

Gabrielle "Coco" Chanel's (1883-1971) reputation is staked primarily on her exploration of menswear-inspired suits and her promotion of the understated little black dress. Though these creations are an important part of her aesthetic, her designs didn't always exude a strict less-is-more philosophy. Many of Chanel's evening wear designs, particularly during the 1920s and 1930s, glittered with embellishment. She also designed feminine, romantic day wear like the c. 1937 afternoon dress pictured here.

Afternoon dress
Gabrielle "Coco" Chanel
c. 1937
Gift of The Fashion Institute of Design & Merchandising
79.25.5

From the Archives: Discovering Counterfeit Chanel No. 5 in a Museum Collection

For the next two weeks, we'll be featuring posts from our extensive blog archives. Today's post was written by Meghan Hansen, FIDM Museum Registrar, in 2009. In this post, she dives into our fragrance archive with an investigation into a counterfeit Chanel No. 5 box and bottle.

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“Bathtub Perfume Traps Pool Shark”¹  “Pair Arrested in Sale of 11c Perfume for $15”²

These headlines suggest the rampant problem of piracy in the perfume industry, a criminal activity prevalent in any field in which luxury goods are involved. For an example of the legal battles that can ensue from the selling of pirated fashions, check out this New York Times blog post. Though Chanel’s fragrances were not the only French perfumes targeted by counterfeiters, Chanel No. 5 consistently turns up in smuggling arrests, counterfeit busts, and consumer warnings about cheap perfume scams. Chanel No. 5 has a cachet that everyone wants, but where does this reputation come from?

Counterfeit Chanel No. 5 Bottle and Box
c. 1950-1959
Gift of Annette Green
F2005.860.986AB

Chains of Chanel

 

Gilt chains are a recurring visual theme in the Chanel lexicon. Beginning in the 1920s, Gabrielle “Coco” Chanel promoted costume jewelry as an alternative to jewelry made of gold and studded with pearls and precious stones. Chanel didn't just promote costume jewelry, she also wore it herself, pairing bold necklaces of faux pearls, gilt and glass stones with her straightforward daywear. In a famous 1937 photo by Horst P. Horst, Chanel casually reclines and her necklaces fall to the side. Who cares if they are real or faux? In 1938, it was said that her " "gold" necklaces were the biggest and most flamboyant in Paris."¹

After 1953, when Chanel emerged from retirement, she applied gilt chains to her garments and accessories for both decorative and functional purposes. The now iconic quilted leather Chanel bag with a chain strap was first introduced in 1955, and is often called 2.55 because it was released in February 1955. Based on a bag Chanel used in the 1920s, this modest rectangular bag has a chain handle that can be slung over the shoulder, or carried at the elbow. A Chanel suit also features a gilt chain, though it is frequently hidden from sight. The jacket always features a lightly quilted lining with a gilt chain hand-stitched to the interior hem of the jacket. The appearance of chain is echoed in braided trim that is often used to reinforce and decorate cuffs, collar and pockets of the suit jacket.

Chanel
Karl Lagerfeld
1985
Gift of Barbara Bundy
2006.37.4

In his designs for Chanel, Karl Lagerfeld has often reworked the iconic signatures of Coco Chanel. In this black wool dress, Lagerfeld pays homage to Chanel by layering trompe l'oeil chains at the waist of a sleeveless black wool dress. A mix of leather, gold embroidery and bugle beads, the chains reference Chanel’s love of costume jewelry and the casual, carefree way that Chanel wore her own jewelry. The simple silhouette and black ground serve as the perfect foil for the richness of the appliqued belts.

 

1 "New Costume Jewelry" New York Times 30 Jan. 1938: 80.

 

Designer costume jewelry: Chanel and Schiaparelli

 

Today's post investigates the costume jewelry associated with two renowned design houses: Schiaparelli and Chanel. As we discussed in our post on Kenneth Jay Lane's starburst brooch, costume jewelry became an important component of fashionable dress during the 1920s. Though it had long been possible to imitate the appearance of gold or precious stones with glass paste or pinchbeck, beginning in the 1920s it was acceptable to flaunt jewelry made from inexpensive materials like glass, plastic and non-precious metals. In 1923, the New York Times noted a recent proliferation of shops devoted to costume jewelry, "all displaying a bewildering layout of necklaces, pendants, earrings, bracelets, [and] brooches" made from semi-precious stones and other inexpensive materials.¹  Popularized by Parisian couturiers like Patou, Chanel and Schiaparelli, inexpensive costume jewelry soon adorned even those women who could afford the real thing.

Couturiers did more than simply promote costume jewelry. Many couturiers, including both Chanel and Schiaparelli, were closely involved in the design of costume jewelry to complement their haute couture collections. By designing jewelry to complement a particular collection, couturiers ensured that their clients' accessories and dress were aesthetically aligned. Offering branded products like perfume and costume jewelry also promoted the namesake couturier. These less-expensive products also brought the glamour of the haute couture within reach of the less-affluent consumer, who could possibly purchase a necklace or fragrance from Chanel or Schiaparelli, but not an entire ensemble.

Bracelet
c. 1955
Schiaparelli
Gift of Barbara Bundy
2006.37.10

Sailor suits

Beginning in the mid-nineteenth century, young boys and girls were often dressed in sailor suits. Worn as both school uniforms and everyday dress, the popularity of the style was sparked by this 1846 Winterhalter portrait of Albert Edward, Prince of Wales. About 5 years old when the portrait was painted, Albert Edward wears a scaled down version of the newly standardized white and blue uniform of the Royal Navy.¹ Throughout the nineteenth century, the Royal Navy was the most powerful navy in the world, a symbol of the United Kingdom's colonial empire and position as a world power. By dressing Albert Edward and her other sons in naval uniforms, Queen Victoria indicated her aspirations for her children and her country. As royalty were the trend-setters of the day, the fashion for sailor suits soon spread across Europe and the United States. National versions of the sailor suit varied, depending on the specific naval uniform of individual countries.

Coco Chanel

Gabrielle "Coco" Chanel (1883-1971) distinguished her design aesthetic through a strict insistence on comfortable, lightweight garments and a pared-down silhouette. Chanel's interest in simplicity is seen in her earliest millinery designs from the 1910s, which relied on a single, dramatic embellishment for decoration rather than the "assemblage of materials" then in vogue.¹ This interest in "less is more" also demonstrated itself in her earliest garment designs, ready-made suits and dresses often made from inexpensive wool jersey. These garments, almost the exact opposite of popular feminine fashions, launched Chanel's career. Throughout her career, Chanel adhered to the basic principle of crafting soft, lightweight fabrics into functional (yet luxurious) garments.

Though Chanel produced a variety of garment types throughout her career, one that reappeared over and over was the suit. Borrowing from menswear, Chanel created a feminine suit which offered ease of movement and capitalized on the implication of power inherent in the masculine suit. The basic, stripped down silhouette remained consistent, but the textiles changed with the times. It became a classic and functions today as shorthand for the designer herself.

Two-piece suit
Chanel
Spring 1964
Transfer from the Museum at FIT
S2004.291.24AB

Do you want IT?

In 1998, Chanel launched an understated new handbag. Based on the upside-down torso of a woman, this aerodynamic bag was called 2005. The sleek, lightweight 2005 bag was created to carry the venerable design house into the new century. Prior to the 2005 bag, Chanel had primarily produced quilted leather handbags in a variety of sizes, always slung over the shoulder with the classic gold chain. The 2005 was a departure, consisting of a solid plastic understructure covered with neutral flannel and carried by an understated silver metal mesh chain. During the design phase, 2005 prototypes were carefully guarded to prevent counterfeiting. Chanel's designer Karl Lagerfeld said of the 2005, "It's totally new age...I have never seen anything like it."¹

2005 Bag
Chanel
1998
Gift of Barbara Bundy
2002.37.1

Our post today was researched and written by FIDM Museum Registrar, Meghan Grossman Hansen!

In the Least Likely of Places: Discovering Counterfeit Chanel No. 5 in a Museum Collection

“Bathtub Perfume Traps Pool Shark”¹    

“Pair Arrested in Sale of 11c Perfume for $15”² 

These are just a few headlines that tell us about the rampant problem of piracy in the perfume industry, a criminal activity that is prevalent in any field in which luxury goods are involved. For an example of the legal battles that can ensue from the selling of pirated fashions, check out this New York Times blog post. Though Chanel’s fragrances were not the only French perfumes targeted by counterfeiters, Chanel No. 5 consistently turns up in smuggling arrests, counterfeit busts, and consumer warnings about cheap perfume scams. Chanel No. 5 has a cachet that everyone wants, but where does this reputation come from?

Counterfeit Chanel No. 5 Bottle and Box
c. 1950-1959
Gift of Annette Green
F2005.860.986AB