THE MEDIA BUSINESS: ADVERTISING; Chanel makes a big pitch for a new perfume aimed at young women, its toughest market.

FOR the last 81 years, the Chanel name has carried a special resonance for women 30 and older, who have made Chanel No. 5 the world's leading fragrance. But the younger market has proved elusive for Chanel, a state of affairs it intends to change with the introduction of its latest fragrance appealing to 20-somethings. Chanel's name for the new fragrance -- Chance -- is fitting. To capture the fancy of this fickle group of women of ages 18 to 29, Chanel is giving Chance the biggest marketing push in the company's history -- with an introductory budget estimated at more than $12 million. Chanel is flinging itself into a market already crowded by competitors' earlier entrants, like Happy by Clinique and CK One from Calvin Klein. Chanel's aggressive plans are self-explanatory, industry observers said. ''Young consumers are the lifeblood of the beauty industry,'' said Irma Zandl, president of the Zandl Group in New York, a consulting company that specializes in the under-30 age category. ''A brand not recruiting teens or young adults is just getting old.''

Chanel's Upper-Class Face

AS far as Stella Tennant, the new face of the House of Chanel, is concerned, modeling is "a bit of a lark." And for Karl Lagerfeld, who is in charge of Chanel, that attitude is just what he was looking for. She's totally modern, but not without roots of what is considered elegant in the past," Mr. Lagerfeld said. "Stella has lots of class." Though pleased with his description, Ms. Tennant, a rail-thin, six-foot, 25-year-old Briton, bristles when pressed about her classy roots. "Everyone wants to write about me because my grandparents are titled, because I'm the granddaughter of the Duke and Duchess of Devonshire," she said. "Sure, that's part of who I am; I mean, I love my family, but that's not who I am. I grew up on a farm in Scotland." Asked what her family thought of her career, Ms. Tennant said, "Pass." It is hard to dispute, though, that Ms. Tennant's lineage has helped her to rise as a model. Women like Ms. Tennant, Shalom Harlow and Amber Valletta bring to fashion "something else," Mr. Lagerfeld said, adding, "No matter what they are wearing or how they are photographed, they seem always like themselves -- whether they are that person in reality or not."

Chanel and Givenchy Transitions

Fashion years operate a bit like dog years for designers: with six collections annually, their learning curves have to be a bit more accelerated than those of people who make career decisions every 12 months. So Alexander McQueen didn't have a lot of recovery time from his first couture show, in January, to his first ready-to-wear collection for Givenchy on Wednesday night. It takes a certain nerve to face an audience that panned your work two months earlier. But Mr. McQueen has that particular nerve, and a lot of other ones as well. Mr. McQueen matured so much in that short space of time, he seems a bit like the Robin Williams character in the film ''Jack.'' Between them, Mr. McQueen and Karl Lagerfeld produce 18 collections a year for houses that collectively bring in more revenue than many countries, now that Mr. McQueen has added men's wear to his own house and has taken on Givenchy's haute couture and ready-to-wear. And even though Mr. Lagerfeld is leaving his post at Chloe after his show on Friday, his collections for Chanel's haute couture and ready-to-wear, Fendi's furs, and the two collections he creates for his own house still seem an unfathomable amount of work.

The Chanel Jacket: An Icon Adorned

After the costumes and theatrics of the first days of the spring and summer ready-to-wear showings, the clothes have begun to demand some serious attention. Well, maybe not all the clothes, but certainly the decorative elements. The embellishments make the difference this season, and no designer knows it better than Karl Lagerfeld. He took probably the best-recognized designer jacket in the world, Chanel's, and gave it pizazz with gold braid, pearl edging and gobs of chunky gold jewelry. He paired it with short chiffon draped skirts, long sheer pants, stretch miniskirts: almost anything but the conventional below-the-knee skirt Chanel herself favored. The finale was a brilliant medley of the basic jacket in ivory-colored monotone tweed tossed over clothes of every possible description, including long evening skirts and draped dresses. It showed a magnificent understanding of fashion as it is today. Other versions of the jacket in beige cotton with lace edges or linen were swinging and casual as the models skimmed along the runway in flat shoes including T-straps in beige linen and clear plastic. With bright cerise, aqua or orange jackets and draped black chiffon skirts, they wore tall spool-shaped heels. The Durability of a Classic

Sportswear: Chanel and a Touch of Tahiti

Sportswear, meaning casual dressing, this country's main contribution to world fashion, has undergone a sea change in the spring collections shown in New York this week. Chanel of the 1930's has emerged as a major influence, expressed in carloads of gold buttons, acres of white pleated skirts and plenty of navy jackets. This borrowed finery is meant to express the elegance of a bygone era, and it happens to work just as well in this country as it does in the European collections. Karl Lagerfeld, the current designer at Chanel, has done his midwifery well. He has made current again the work of one of this century's giant design talents. Dell'Olio's Homage to Gaugin Louis Dell'Olio added still another element yesterday in his collection for Anne Klein & Company, a pillar of the sportswear industry here. Slipping in from left field, his homage to Gauguin was reflected in tropical prints, sarong skirts and in the sun-drenched colors of the artist's Tahitian paintings. A fresh version of the ethnic themes that balance the Chanel look in many of the European collections, it is welcome.

Chanel's Foot Soldiers Advance

IT'S the kind of exquisitely simple and unfettered design that several generations of stylish women have come to expect from the House of Chanel. This particular one is a collarless jacket with two precise rows of brass buttons down the front, each button bearing the familiar logo with interlocking C's. The jacket is the brainchild of Chanel's resident innovator, Karl Lagerfeld, who has picked up the traditions of the Great Coco as skillfully as Astaire did the tango. But there is no fancy footwork in evidence here, just long, clean lines defined by the princess shaping and a high, collarless ring neckline that flatters the wearer by gently elongating her neckline, and, by the way, provides an ideal setting for a single strand of pearls. Or, now that the weather is turning colder, a turtleneck sweater. Two other styles have collars. The nice touches don't stop there, of course. There are generous, bellows patch pockets, their flaps held down by those golden buttons, and a half-belt in back that is similarly secured.

THING; The Chanel Platform

By William Grimes Published: May 17, 1992 WHAT: Karl Lagerfeld, Chanel's designer, has canonized the cork-soled platform sandal. The price is a reassuring $615, which includes: one two-inch cork sole, one four-and-a-half-inch cork heel, one black suede-on-leather vamp and one ankle strap with Velcro closure, joined to the sole by two suede-on-leather strips. The shoe extends the silhouette of Chanel's lower hemlines, which can look dowdy with flat shoes. The look is monumental, even architectural. The ground floor presents massed forms that look like pitted sandstone. The second story elaborates a sophisticated line that plays off against the bulk below. The shoe is paradoxical. It overturns the meaning of the sandal, a creature of sunlight and fresh air, but here enlisted into sinister nighttime service. The sole is bulky but lightweight, a natural, untreated material put to the uses of artifice. The woman who stands atop the Chanel pedestal sacrifices movement for display, action for adoration. WHY: With its elegant ankle harness, the Chanel sandal presents the foot as a beautiful slave. The shoe fits like a horse's bridle.

Advertising; A New Woman For Chanel

Published: November 25, 1987 AFTER about eight years of doing without, Chanel No. 5 has a new woman. Like Catherine Deneuve, who symbolized the scent for the eight years before that, the new woman is a French actress, Carole Bouquet, with dark hair, high cheekbones and a gorgeous smile. For a number of years Chanel Inc. has put its broadcast advertising budget behind expensive new wave commercials that helped lead the advertising industry into a new look. ''We have a bad habit of not being able to do things cheap,'' said Alain Wertheimer, chairman and chief executive of Chanel. The new spot is not without its obviously expensive production values and the stark graphics of its two predecessors. That is not surprising, since it was directed by Ridley Scott, the Briton who has worked for Chanel before.

By Design; Evening Shades of Chanel

By CARRIE DONOVAN Published: September 25, 1990 SIGN IN TO E-MAIL PRINT Most women are on to the fact that a good-looking jacket is the linchpin of their daytime wardrobe. Whether it's slouchy Armani, snappy Bill Blass, tweedy Ralph Lauren, sexy Ungaro or stylish Chanel, the jacket pulls everything - old or new - together. Now the jacket is doing the same thing for evening. Look around at some of the successful, packed Manhattan restaurants like the new Le Comptoir. At the chic dinner hours they are filled with women of all ages looking very pretty in variations of the new dinner jacket costume. It's made up of a striking jacket in a pale tone, often banded in black trim, always quite fitted and covering the hips with curvy lines. The skirt underneath is short, usually in black or of a color that contrasts with the jacket. Big-scale dangling earrings, maybe some ropes of pearls wrapped around the throat and a small saucy handbag, probably on a shoulder chain, are the favored accessories. Usually the hose are flesh toned and the high-heeled sandals match them. But it is the jacket, with its longer, fitted shape, that is the real news.

ON THE STREET; Chanel Goes to the Front

There's a new boot camp in town along Fifth and Park avenues, where the first rank of a new fashion army is strutting in lace-up black Chanel boots. With spit-and-polish gold metal plaques riveted to the back and double-C logos embellishing the toes, the boots help to secure the wearer's fashion status, both coming and going. And why not -- at $1,190 a pair? With thick crepe soles, they are the Chanel challenge to Doc Martens. The boots come with 7 or 16 eyes, and the taller versions are topped with three buckles. Whoever said high fashion was effortless? While a few women wear them with slim below-the-knee suit skirts, most pair them with leggings, stirrup trousers or narrow-legged jumpsuits, all topped with a variety of sporty parkas, Chanel jackets and even a blond sable. The look includes an abundance of Chanel gold-chain accessories -- necklaces, hatbands, belts and straps for black quilted shoulder bags -- not to mention gold buttons, zippers and earrings. There's even a leather Chanel biker's cap. In redesigning the Chanel look, Karl Lagerfeld has given the boot to the signature sling-back shoe.

The Chanel Under the Chador

Published: May 25, 1997 I would like to tell Elaine Sciolino that the chador *is* a power suit for Muslim women (''The Chanel Under the Chador,'' May 4). Unlike women in the United States, we are not measured by how short our skirts are or how we look. Eating disorders, liposuction, breast implants and cosmetics are not multimillion-dollar businesses in the Muslim community. Just because Muslim women cover our hair doesn't mean we cover our brains. Jameela Jafri New York

Desperately Seeking Chanel

By WOODY HOCHSWENDER Published: May 24, 1988 In her red-silk Chanel suit, with its brass buttons and white-trimmed pockets, Debra Sharpe has snap. But take a closer look. The hardware is the give-away. There is no trademark double-C on the buttons. Ms. Sharpe, who owns the Sharpe Gallery on Wooster Street in SoHo, is a bit of a fashionable fraud. She has her Chanel suits copied by a dressmaker from magazine tear sheets. ''I've never had anyone ask me if it's real or fake,'' she said. ''I wear both, and I think my fakes are better.'' Susan Blond wears pure unadulterated Monday-through-Friday Chanel. ''I only feel completely comfortable when I'm in Chanel,'' said Ms. Blond, whose company handles the publicity for many recording stars. ''You want to impress everyone you meet.'' she added. ''So you always want to wear Chanel. I even feel better on the phone.'' Ms. Blond's associate, Suzanne MacNary, can't afford full-blown Chanel dressing but does like the look. So she has sewn brass buttons onto a Dianne B. blue jacket and marshaled her accessories to approximate the real thing. 'Looking at the Tag' ''I got my first real Chanel blouse last week,'' said Ms. MacNary, ''and I can't stop looking at the tag.'' In varying degrees, many women seeking a formula to blend in with the symphony of gray in the business world, without being overwhelmed by it, turn to the Chanel version of power dressing. The updated suits - often collarless cardigan-style with brass buttons - are soft and chic, feminine but strong. With a rope of pearls, gold chains and earrings, the required quilted leather handbag and the optional beige sling-back pumps with black patent toes, it's a pulled-together look - a power look. At an average of $2,000 for a ready-to-wear suit, it's also an expensive look. But many working women don't bat an eyelash about spending thousands to achieve it. Fashionable without being forward, the Chanel suit has achieved a new currency and appropriateness in the last several years. Like the chalk-striped suit for men, the look is rich, refined and, above all, dressed. ''You can be in fashion without screaming 'fashion,' '' said Anna Wintour, editor in chief of HG magazine, who bought a navy-and-white tweed Chanel ready-to-wear suit in Paris this year. ''I think a lot of businesswomen feel more comfortable when they don't stand out too much. It's very genuine, very applicable and very much of today.''

Retail Fact, Retail Fiction; In Luxury Goods, a War on Fakes Has Many Pitfalls

By ANDREA ADELSON Published: September 16, 1995 Sign In to E-Mail Print Single-Page For nearly 20 years, Charles W. Bogar made a good living selling high-priced luxury goods in shops in Los Angeles and San Francisco, particularly to Japanese tourists. Along the way, he settled lawsuits from companies including Alfred Dunhill, Cartier, Louis Vuitton and Chanel that accused him of selling counterfeit goods. Despite the legal tussles, the profits rolled in. Mr. Bogar, who is 59, and his wife, Jo Ann, 51, lived in a suburban Los Angeles home that was once valued at $1.7 million. He drove a Maserati, she a Corvette. No more. For Mr. Bogar ran into another luxury goods company, Hunting World Inc., which was determined to put an end to what it contended were unauthorized sales. And while Mr. Bogar settled this complaint, too, without acknowledging wrongdoing, he paid a far steeper price than in the other settlements. "Bob Lee has ruined me financially," Mr. Bogar said, referring to Robert M. Lee, the founder and owner of Hunting World, which is based in Sparks, Nev., and is known for its luggage, apparel, watches and jewelry. The company's catalogue lists a duffel bag at $1,400, a key case at $197 and a mother-of-pearl watch at $2,525. Mr. Bogar now operates just one San Francisco store and is a retail consultant in Las Vegas. "I've lost everything I had," he said. He decided to settle with Hunting World, he said, after his legal fees of $1 million exhausted his resources. Mr. Bogar agreed to pay Hunting World $1.7 million at a rate of $30,000 a month. The Los Angeles home is up for sale, and the Bogars are in the midst of divorce proceedings. The tale of Mr. Bogar and his settlement with Hunting World throws some light on how difficult luxury goods companies find it to stop the sales of unauthorized goods -- and, indeed, how hard it can be to determine just what is authentic. Mr. Bogar and his lawyers, for example, say the Hunting World items he sold in his stores were identical to the real thing in every way except documentation -- a technicality, he told the Federal District Court in San Francisco, where the Hunting World case was heard. Mr. Bogar obtained the merchandise, he said, through an Italian buying agent who approached Hunting World contractors in Florence and persuaded them to sell him the same goods that they were making for Hunting World. On a buying trip to Florence, Mr. Bogar visited a factory where Mr. Lee's picture was displayed, according to a lawyer for Mr. Bogar.

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