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Works of: Chanel

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Works of: Chanel

25 to 43 of 43 Artist Information

92.225.50

Chanel

Date: c.1985

Medium: Satin and ribbon

Object: Evening shoes

Object number: 92.225.50

84.138.1

Chanel

Date: Winter 1983

Medium: Black and white houndstooth wool, black and white silk crepe

Object: Ensemble

Object number: 84.138.1

94.115.1

Chanel

Date: c.1986

Medium: Pale rose-beige wool crepe, crinkle silk chiffon

Object: Suit

Object number: 94.115.1

91.255.3

Chanel

Date: 1986

Medium: Black wool and black satin

Object: Suit

Object number: 91.255.3

2014.63.3

Chanel

Date: c. 1989

Medium: Silk tulle, synthetic net, and plastic

Object: Evening dress

Object number: 2014.63.3

2002.96.8

Chanel

Date: c. 1992

Medium: Quilted leather and brass

Object: Bag

Object number: 2002.96.8

91.231.1

Chanel

Date: 1990

Medium: Black velvet, black satin, and horsehair

Object: Evening dress

Object number: 91.231.1

2013.56.1

Chanel

Date: Fall 1991

Medium: Metal

Object: Necklace

Object number: 2013.56.1

2017.9.1

Chanel Boutique

Date: Spring 1991

Medium: Polyester and elasthan, black grosgrain, and sequins

Object: Evening jacket

Object number: 2017.9.1

2008.25.11

Chanel

Date: c. 1993

Medium: Multicolor glass, turquoise, and faux pearls

Object: Necklace

Object number: 2008.25.11

2014.63.4

Chanel

Date: Fall/Winter 1994-1995

Medium: Silk satin and wool crepe

Object: Evening dress

Object number: 2014.63.4

94.80.1

Chanel Boutique

Date: Spring 1994

Medium: Pink cotton / wool /synthetic tweed and white cotton

Object: Ensemble

Object number: 94.80.1

2019.77.1

Chanel

Date: Spring 2007

Medium: Black patent leather and synthetic materials

Object: Shoe

Object number: 2019.77.1

2012.63.1

Chanel

Date: Cruise 2009

Medium: Silk satin, plastic, and metal

Object: Shoes

Object number: 2012.63.1

2012.63.3

Chanel

Date: 2010

Medium: Metallic leather, patent leather; resin

Object: Boots

Object number: 2012.63.3

2012.63.4

Chanel

Date: Cruise 2013

Medium: Silk brocade and resin

Object: Boots

Object number: 2012.63.4

2018.38.1

Chanel

Date: c. 2015

Medium: Silk, leather, cord, and metal

Object: Shoes

Object number: 2018.38.1

2012.63.2

Chanel

Date: Cruise 2013

Medium: Metallic leather and rubber

Object: Shoes

Object number: 2012.63.2

2015.64.1

Chanel

Date: Fall 2015

Medium: Black wool, black cotton demin, ivory silk crepe, black silk, white silk organza, white leather, and beige suede

Object: Ensemble

Object number: 2015.64.1

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Artist Info

Chanel

“L’Elégance, c’est moi,” said Chanel—unless the quotation is apocryphal, like so much else in the Chanel legend. Gabrielle “Coco” Chanel (1883-1971) is probably the most famous fashion designer of the twentieth century, but this fame is based not so much on the remarkably enduring appeal of her designs as on the mythology that has surrounded her life and career. The popular image of Chanel is of a unique genius who created her personal style in isolation from the work of other designers, and virtually single-handedly brought women into the modern era. She is credited, for example, with abolishing the corset and “inventing” the Little Black Dress.

Ironically, this hyperbolic portrait, which she did so much to create, has obscured her genuine accomplishments. Paul Poiret and Madeleine Vionnet created corset-less new styles years before Chanel; and myriad designers of the 1920s created little black dresses and functional sportswear separates. But Chanel was not just a fashion designer; she was also her own best fashion model. She created an image of herself as a modern woman of style, dandyish in her simplicity, with a casual chic that made other women look like over-dressed dolls. By publicizing this image, Chanel not only achieved a much higher profile than her contemporaries (whether men like Jean Patou or women like the talented but motherly-looking Jeanne Lanvin), she also created a prototype for the modern woman—one that has lasted until today.

Although she closed her couture house in 1939, Chanel reopened in 1954, and positioned herself as the antithesis of the reigning male designers of the postwar era. In contrast to Dior’s ever-changing silhouettes, she proposed comfortable, slightly boxy suits, which functioned as stylish uniforms. As Karl Lagerfeld observed, to some extent, Chanel’s genius lay in doing the right thing at the right time. The continued success of her perfume, Chanel Number 5, also kept the brand’s name in the public eye. Nevertheless, after her death in 1971, Chanel’s style became fossilized.

It was only in 1983, when Karl Lagerfeld was brought in, that the Chanel style was brought back to life. Indeed, Lagerfeld once pictured himself as an “emergency doctor” who rejuvenated the famous Chanel suit and other signature styles, introducing new materials, such as denim and leather, and techniques like deconstruction. Unlike Chanel, who was a modernist, Lagerfeld was a postmodernist who boldly exaggerated design elements and signature details, such as chains, costume jewelry, and the famous double C’s. Lagerfeld headed design at Chanel until his death in 2019.