Instruct: Given a question, retrieve relevant passages that answer the question.
Query: When did Gabrielle Bonheur "Coco" Chanel take the name "Coco"?
Having learned to sew during her six years at Aubazine, Chanel found employment as a seamstress. When not sewing, she sang in a cabaret frequented by cavalry officers. Chanel made her stage debut singing at a "cafe-concert" (a popular entertainment venue of the era) in a Moulins pavilion, "La Rotonde". She was a "poseuse", a performer who entertained the crowd between star turns. The money earned was what they managed to accumulate when the plate was passed. It was at this time that Gabrielle acquired the name "Coco" when she spent her nights singing in the cabaret, often the song, "Who Has Seen Coco?" She often liked to say the nickname was given to her by her father. Others believe "Coco" came from "Ko Ko Ri Ko", and "Qui qu'a vu Coco", or it was an allusion to the French word for kept woman, "cocotte". As an entertainer, Chanel radiated a juvenile allure that tantalized the military habitués of the cabaret.
In 1918, Chanel purchased the building at 31 rue Cambon, in one of the most fashionable districts of Paris. In 1921, she opened an early incarnation of a fashion boutique, featuring clothing, hats, and accessories, later expanded to offer jewellery and fragrances. By 1927, Chanel owned five properties on the rue Cambon, buildings numbered 23 to 31.
Although Chanel was viewed as a prominent figure of luxury fashion during her life, Chanel's influence has been examined further post death in 1971. She continued to spend her final years in luxury evermore at her magnificent Ritz apartment. When Chanel died, the first lady of France, Mme, Pompidou organized a hero's tribute. Soon damaging documents from French intelligence agencies were released that outlined Chanel's war time involvements that quickly ended her monumental funeral plans.
For Chanel's 2013 exhibition at the Palais de Tokyo in Paris, Boom created a book filled with solid white, textural pages. The 300 page book was printed devoid of ink, instead embossed with text and image creating a semi-invisible narrative for Gabrielle “Coco” Chanel. The book structure is housed in a black box. The concept behind the book was inspired by the nature of perfume—it is best understood in an olfactive, not visual, manner—and relies on lesser dominant senses to convey the essence of the Chanel N ͦ5 fragrance. Its content came from the world of Mlle. It won the Dutch Design Awards in 2013 and is part of the permanent collection at MoMA.
In 1975 Colette was asked to participate in "Fashion as Fantasy" at Rizzoli's bookstore. In this fashion/art event (co-curated by Frederico Suro), a larger-than-life perforated light box of Colette was featured, while throughout the store and its windows Colette performed as "Ragdoll" with veiled breasts, a Victorian corset, bloomers and boots. Images of her "look" and her habit of wearing and incorporating undergarments began to appear not only in art publications, but also in fashion and popular press: "Art News", "Women's Wear Daily", and "Daily News". References to Colette's look worn in art and life, are still made as having inspired a young Madonna and later Lady Gaga. During this time Colette begun to be referred to as a "walking performance".
In 1923, Vera Bate Lombardi, (born Sarah Gertrude Arkwright), reputedly the illegitimate daughter of the Marquess of Cambridge, afforded Chanel entry into the highest levels of British aristocracy. It was an elite group of associations revolving around such figures as politician Winston Churchill, aristocrats such as the Duke of Westminster, and royals such as Edward, Prince of Wales. In Monte Carlo in 1923, at age forty, Chanel was introduced by Lombardi to the vastly wealthy Duke of Westminster, Hugh Richard Arthur Grosvenor, known to his intimates as "Bendor". The duke lavished Chanel with extravagant jewels, costly art, and a home in London's prestigious Mayfair district. His affair with Chanel lasted ten years.
Colette Justine better known as Colette and from 2001 Colette Lumiere (born 1952 in Tunis, Tunisia) is a French-born, American multimedia artist known for her pioneering work in performance art, street art and her use of photography constructed photograph. She is also known for her work exploring male and female gender roles, different guises and personas and for her soft fabric environments where she often appears as the central element.
Cobalt blue in impure forms had long been used in Chinese porcelain, but it was independently discovered as a pure alumina-based pigment by Louis Jacques Thénard in 1802. Commercial production began in France in 1807. The first recorded use of "cobalt blue" as a color name in English was in 1777. The leading world manufacturer of cobalt blue in the 19th century was Benjamin Wegner's Norwegian company Blaafarveværket ("blue colour works" in Dano-Norwegian). Germany was also famous for production, especially the blue colour works ("Blaufarbenwerke") in the Ore Mountains of Saxony.
Colette's first performance/photo work took place in 1970 when she had herself photographed as "Liberty Leading the People" after Delacroix. She presented this work to the public in 1972. In an installation, composed of white parachute silk, embedded lighting, [lightboxes, lavender-painted floors inscribed with her personal code and audios, she posed as Liberté. This tableau vivant could also be viewed from the windows of the gallery. Fred McDarrah photographed it for "The Village Voice" in January 1973.
In 1997 the "Salon de la Refusee" at the Gerswirn Hotel was viewed both by an art audience as well as random passers-by. Through its windows a Colette mannequin sculpture was installed in the gallery space, along with Colette's new works and objects, that incorporated her life's costumes. Simultaneously, In a show titled Art?fashion, another Colette mannequin sculpture dressed in one of her rushed gowns worn in live performances during her"Nightclubbing"days of the early 1980s was featured at the downtown Guggenheim Museum. Nightclubs continued to be a place of celebration after her opening exhibitions as well as a and showcase for her art. ex; The Palladium 1992, Life Club in 1997 after the opening of Le Salon de La Refusee, The Limelight in 1990, and in 1998 a multimedia production with art work, video installations, and a tableau appearance for the opening to songs co-written with Jacob Engel. 1990& 1998-., Club U.S.A "to celebrate chivalry and good manners".
As 1971 began, Chanel was 87 years old, tired, and ailing. She carried out her usual routine of preparing the spring catalogue. She had gone for a long drive the afternoon of Saturday, 9 January. Soon after, feeling ill, she went to bed early. She died on Sunday, 10 January 1971, at the Hotel Ritz, where she had resided for more than 30 years.
Her funeral was held at the Église de la Madeleine; her fashion models occupied the first seats during the ceremony and her coffin was covered with white flowers—camellias, gardenias, orchids, azaleas and a few red roses. She died in her infamous style, announcing: "You see, this is how you die."
The coastline of the modern state is not quite coterminous with what the 15th- and 16th-century merchants knew as the "Teeth" or "Ivory" coast, which was considered to stretch from Cape Palmas to Cape Three Points and which is thus now divided between the modern states of Ghana and Ivory Coast (with a minute portion of Liberia). It retained the name through French rule and independence in 1960. The name had long since been translated literally into other languages, which the post-independence government considered increasingly troublesome whenever its international dealings extended beyond the Francophone sphere. Therefore, in April 1986, the government declared that Côte d'Ivoire (or, more fully, République de Côte d'Ivoire) would be its formal name for the purposes of diplomatic protocol, and since then officially refuses to recognize or accept any translation from French to another language in its international dealings.
Bill Colgan, founder of Colgan Custom Manufacturing, Inc. successfully operated a trim and upholstery business in Burbank, California, for fifteen years prior to creating the car bra business. The "Original Car Bra" was invented in 1961 when three German engineers from Lockheed walked into Bill's upholstery shop, asking Colgan if he could redesign a protective cover for their personal Porsches. The very first pattern was for the Porsche 356. The first order for the protective covers for the cars’ front fascia (a.k.a. ‘car bras’) was for 12 units. After that, he was asked to make 150. Yet, after the second order was given to the buyers, he stopped making car bras, in order to concentrate on the main business. And only by the mid-1970’s he realized that this business took over upholstery, and he concentrated on car bras production, having given this name to his invention. The pattern Colgan designed was the creation of the one-piece "Original Car Bra." The word 'bra' came from the woman's breast-support undergarment, the brassiere.
Volume 1 was immensely successful, and work on Volume 2 began around 1964, as a collaboration between Simone Beck and Julia Child, but not Louisette Bertholle. By the end of 1960, Beck and Child had grown frustrated with Bertholle because they felt she did not contribute enough to "Mastering the Art of French Cooking" to merit co-authorship and one third of the book's proceeds, and wanted Knopf to change the byline to read "by Simone Beck and Julia Child with Louisette Bertholle." Beck argued, "it is bad for the book for her to present herself as Author, as she really does not cook well enough, or know enough," and that Bertholle should only be entitled to 10% of the profits (to Beck and Child's 45% each). Ultimately, the contract with the publisher necessitated that Bertholle be given a co-author credit, and the final profit split was 18% to Bertholle and 41% each to Beck and Child. The dispute left Bertholle extremely upset, and effectively severed the professional partnership between herself and Beck and Child.
Some French authors have shown a preference for mononyms. In the 17th century, the dramatist and actor Jean-Baptiste Poquelin (1622–73) took the mononym stage name Molière.
Through the nineties Colette continued to seek various settings and stages in which to exhibit. Eighteenth century salon inspired and "Colettesized"artworks were installed in environments created for them:- ex;" Colette goes Uptown "Uptown Downtown gallery" (1995), Eugenia Cucalon (1996) "the House of Olympia persists its way unto reality ", "Me Myself and I", Carol Johnssen, Munich. At the Lowen Palais part of the Starke Foundation in Berlin, she was given her own "Colette Salon". There she periodically appeared and entertained in eighteenth century style, and presented her latest comissined portraits and works of art work of her choice.
In 1985 during her stay in Berlin, Three monographs were published on her work: 1."From Silk To Marble" - a series of photographs of Colette transforming herself with a white sheet into sculptures of different periods of history, thus documented the style and fashion of that period.were exhibited with an opening performance re-enacting the images live. Künstlerhaus Bethanien (with the Torkil Gudnason) helped her document the images right before her departure to Berlin. 2."Colette new works and paintings" - 85 for her solo show at the Berlin Kunstverein (published by Kammerer & Unverzagt) and 3."Art on Stage", distributed by the Stadtische Galerie Nordon (Germany). Colette presented a multimedia installation / performance with her works on the stage of its auditorium. Its co-publisher was Daniel Newburg Gallery (New York Gallery which represented her work during that period).
There are several explanations about the etymology of this name:
Although the city's name has always been pronounced "Kolkata" [ˈkolkat̪a] () or "Kôlikata" [ˈkɔlikat̪a] () in Bengali, the anglicised form "Calcutta" was the official name until 2001, when it was changed to "Kolkata" in order to match Bengali pronunciation.
In 1921, Andrew Kanelos opened a small candy store in Chicago, Illinois. While he initially called his store "Andy's Candies" in reference to himself, he quickly found that men did not like giving boxes of candy with another man's name to their wives and girlfriends. As such, he changed the spelling of the business to "Andes Candies." In 1980, Andes was purchased by the Swiss candy company Interfood (later Jacobs Suchard). When Jacobs Suchard bought Brach's in 1987, Andes became part of that division. When Jacobs Suchard was sold to Kraft General Foods in 1990, Brach's was kept separate by owner Klaus J. Jacobs. In need of cash, Brach's sold Andes to Tootsie Roll Industries in 2000.
Calvin Coolidge's mother Victoria Moor was claimed to be of a mixed-race family in Vermont. Vaughn noted that her surname was derived from "Moor", a European term for people of North Africa. He did not note that another meaning of her surname is the landscape feature of moor or bog. People's surnames were often based on such landscape features when surnames became generally adopted in 14th century England. Moor/Moore is a common name in England, Scotland, and Ireland.
In 2013, Cowell allegedly began dating an American woman named Lauren Silverman. In July 2013, Silverman's husband and Cowell's friend, Andrew Silverman, filed for an at-fault divorce, citing adultery by his wife and naming Cowell as a co-respondent. News of the divorce filing became public two weeks later, when it was widely reported that Silverman and Cowell were expecting a baby together. Cowell said, "There are a lot of things I will eventually clear up when the time is right, but I really have to be sensitive because there's a lot of people's feelings involved here." The Silvermans released separate statements expressing concern for the well-being of their son during the divorce process. In August 2013, the Silvermans settled their divorce out of court, enabling Cowell to avoid being called as a witness in the divorce proceedings. He subsequently confirmed that Silverman was pregnant with his child, and she gave birth to their son, Eric, on 14 February 2014.
When Gabrielle was 12, her mother died of tuberculosis at the age of 32. Her father sent his two sons to work as farm laborers and sent his three daughters to the convent of Aubazine, which ran an orphanage. Its religious order, the Congregation of the Sacred Heart of Mary, was "founded to care for the poor and rejected, including running homes for abandoned and orphaned girls". It was a stark, frugal life, demanding strict discipline. Placement in the orphanage may have been the best thing for Coco's future because it is where she learned to sew. At age eighteen, Chanel, too old to remain at Aubazine, went to live in a boarding house for Catholic girls in the town of Moulins.
Chanel had begun designing hats while living with Balsan, initially as a diversion that evolved into a commercial enterprise. She became a licensed milliner in 1910 and opened a boutique at 21 rue Cambon, Paris, named "Chanel Modes". As this location already housed an established clothing business, Chanel sold only her millinery creations at this address. Chanel's millinery career bloomed once theatre actress Gabrielle Dorziat wore her hats in Fernand Nozière's play "Bel Ami" in 1912. Subsequently, Dorziat modelled Chanel's hats again in photographs published in "Les Modes".
Gabrielle Bonheur Chanel was born in 1883 to mother, Eugénie Jeanne Devolle—known as Jeanne—a laundrywoman, in the charity hospital run by the Sisters of Providence (a poorhouse) in Saumur, Maine-et-Loire, France. She was Jeanne's second child with Albert Chanel; the first, Julia, was born less than a year earlier. Albert Chanel was an itinerant street vendor who peddled work clothes and undergarments, living a nomadic life, traveling to and from market towns. The family resided in rundown lodgings. In 1884, he married Jeanne Devolle, persuaded to do so by her family who had "united, effectively, to pay Albert to marry her."
Wisely, Pierre Wertheimer settled his business- and commercial-rights quarrel with Chanel, and, in May 1947, they renegotiated the 1924 contract that had established Parfums Chanel — she was paid $400,000 in cash (wartime profits from the sales of perfume No. 5 de Chanel); assigned a 2.0 per cent running royalty from the sales of No. 5 "parfumerie"; assigned limited commercial rights to sell "her" "Chanel perfumes" in Switzerland; and granted a perpetual monthly stipend that paid all of her expenses. In exchange, Gabrielle Chanel closed her Swiss "parfumerie" enterprise, and sold to Parfums Chanel the full rights to the name "Coco Chanel".