Catherine Deneuve at Maison Chanel at 31 rue Cambon (with two models from the House). Hairstyles by René Goujean. Photo Shahrockh Hatami.
Catherine Deneuve à la Maison Chanel au 31 rue Cambon (avec deux mannequins de la Maison ). Coiffures de René Goujean. Photo Shahrockh Hatami.
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Anna Ewers by Karim Sadli for 31 Rue Cambon, Issue #25
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1990's vintage Chanel in 31 Rue Cambon, Paris. Model Lucia Janosova in Gabrielle Coco Chanel’s personal evening dress and shoes. Photo by Deborah Turbeville.
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Wang Yibo for his visit to 31 rue Cambon for Chanel in Paris
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Margot Robbie
Chanel
Photographer: Karim Sadli
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MARGOT ROBBIE.
BY KARIM SADLI. © | CHANEL "31 RUE CAMBON" MAGAZINE, JUNE 2022.
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(top) Catherine Deneuve in the salons of the Maison Chanel in Paris at 31 rue Cambon. There she tried on an evening ensemble from the Haute Couture Fall/Winter 1964-65 Collection, which she wore for a gala at the Lido cabaret in December 1964.
Photo Shahrockh Hatami.
(below) Françoise Dorléac & Catherine Deneuve arriving at the Lido cabaret on December 2, 1964.
(dessus) Catherine Deneuve dans les salons de la Maison Chanel à Paris au 31 rue Cambon. Elle essaye là un ensemble de soirée de la Collection Haute Couture Automne/Hiver 1964-65, ensemble qu'elle portera à l'occasion d'un gala au cabaret le Lido en décembre 64.
Photo Shahrockh Hatami.
(dessous) Françoise Dorléac & Catherine Deneuve arrivant au cabaret le Lido le 2 décembre 1964.
(Photo by KEYSTONE-FRANCE/Gamma-Rapho via Getty Images)
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Austrian fashion designer Emilie Flöge, 1900s
She was Gustav Klimt’s muse, lover, and lifelong companion. The necklaces were gifts from Klimt.
Coco Chanel is often heralded as the sole designer to revolutionize modern womenswear, and it’s true that she popularized trousers and comfortable two-piece suits at a time when upper-class women had limited sartorial options. But by the time Chanel opened her salon at 31 Rue Cambon in Paris in 1910, Flöge had been producing cutting-edge designs in Vienna for several years, already carving out new roles for women in the industry with her empire-waist garments, wide sleeves and intricately-detailed panels inspired by Hungarian and Slavic embroidery, marking a departure from the restrictive, corseted dresses that were the mainstays for the time.
In 1904, Emilie and her two sisters opened the fashion house Schwestern Flöge on Vienna’s bustling Mariahilfer street—an unusual venture for three unmarried, thirty-something women to take on then. Klimt and Flöge’s relationship was also extremely unusual: they were romantic partners that never got married nor had children, and maintained a level of independence unprecedented for the time.
via
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