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Best Jewelry Designers Biography

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Coco launches her perfume Chanel No. 5 in the 1920s.  She employs a great chemist named Ernest Beaux, who after mixing one hundred and twenty-eight ingredients finally comes out with the fragrance that she approves.  Chanel No. 5 becomes a key source of Coco’s fortune.

From 1926 to 1931, Coco’s designs develop an English style.  She makes fashion out of the black sleeved waistcoat, its front striped with the Ducal colors, and of the beret now worn by elegant women pulled down flush with the eyelids, idea that she gets from the sailors on the Westminster Yacht, the “Cutty Sark” owned by the Duke.  She also introduces the wide-legged pants for women, based on sailors’ bell-bottoms, which she called “yachting pants”.  They were followed two years later by wide, generously cut beach pajamas.  The creation of the pants and her sportswear fashion is probably the biggest and most extraordinary innovation brought about by Chanel.

Coco Chanel begins to wear jewelry that is meant for the evening, with her daytime outfits, like her long string of pearls.  She embraces jewelry and makes it “costume jewelry”.  Her couture house produces colorful necklaces, bracelets, lapel pins and earrings crafted from glass beads.  She commissions Duc Fullco de Verdura to design and elaborate custom jewelry using fake and semi-precious stones in ostentatious settings.  The most famous of Verdura’s jewelry must be his enameled and jeweled cuffs with Maltese cross motifs.  These have proved to be so popular that they are still made and sold in Chanel boutiques to this day, although the original designs are recognizable as such and are very hard to find at almost any price.  Coco made it “chic” to wear fake jewelry.

Chanel’s jewelry from the 1920s usually consisted of ropes of pearls with interspersed pate de verre stones, sometimes with crosses hanging from them.  She also made strands of pearls and colored glass for wearing with colored glass and pearl cuffs and bracelets.  In 1929, Coco opened a boutique in her Paris salon to sell accessories, such as bags, belts, scarves and jewelry.

The 1930s saw gilded jewels, chains, cuffs, and buttons in an almost militaristic style.  It was around this time that Chanel and the first large couturiers started to produce lines of costume jewelry to accompany their clothing, a trend continued by Christian Dior among others.  It is probably due to this development that Chanel is credited with the “invention” of modern costume jewelry.  Many of the designs were simply copies of her real jewelry, which was either given to her or worn by her high status friends and clients. 

After World War II, strands of opera length pearls and colored glass were once again sold, but this time the fashion was to wear not just one but many.  In the 1950s Chanel collaborated with Robert Goossens, who was a very skilled metal worker, and trained goldsmith.  Goossens produced some of Chanel’s most important jewelry, including the well known barrettes set with a faux pearl or glass stone and the triple ring earrings in gilded metal.

When one thinks of Chanel jewelry there is one other name that immediately springs to mind, and that is of Maison Gripoix.  Maison Gripoix perfected a method of pouring glass into slender brass frames to create their famous pate de verre.  The resulting look was that of large, sumptuous, natural precious stones set in a Moghul or even the Renaissance style.  Goossens and Gripoix were at the forefront of what is sometimes called bijoux de couture; jewelry designed to complement a certain outfit, which represented the ultimate in elegance in the first half of the 20th Century.

The height of the 1980’s saw some of the most ostentatious jewelry produced by the Chanel design house.  Chanel had been producing sautoirs (opera length strands of pearls and chains) since the beginning, and they are a trademark of the design house.  Where the earlier examples were almost entirely made up of baroque pearls, gilded chain, and pate de verre, other motifs were added over the years.  Late examples of the sautoir include the coin and double “C” motif created during Karl Lagerfeld’s directorship of the company.
In 1885, the first "Faberge Easter Egg" was presented to the Tsarina Marie Romanova and later that year, Faberge was rewarded with the appointment of jeweler to the Imperial Court, and given the right to have the Imperial Eagle incorporated in the firm's trademark.  From 1895 to 1916, Tsar Nicholas II ordered two eggs each year, one for his wife and one for his mother.  Eggs were designed to celebrate the coronation of Tsar Nicholas II, the completion of the Trans Siberian Railway, the birth of the Tsarevitch (male heir to the throne), the 15th Anniversary of the Imperial Couple's coronation, and the "Romanov Tercentenary Egg" which commemorated 300 years of Romanov rule. During times of war, eggs were created to honor the Red Cross and the military. In all, 56 eggs were ordered.   The Faberge eggs became a beautiful symbol of Russian history and culture.

During the Edwardian Era 1901 to 1910, Fabergé produced a large quantity of jabot brooches which were described as “small brooches” by Fabergé.  Another item that was very popular and also produced in large quantities and in a variety of patterns was the belt buckle.  It was produced in every possible color and technique in silver and enamel and sometimes in gold or plain.  They were often bordered by chased mounts, sometimes set with rose diamonds or pearls.

Haircombs of tortoiseshell usually set with diamonds, a less formal substitute for the tiara were also very popular and produced in large quantities.  Faberge’s vast production of products was focused on women’s adornments but he also made a small quantity meant for men’s wear, such as stick-pins, waistcoat buttons, shirt-studs and sleeve-links in a variety of designs and materials.

In 1897, the Swedish and Norwegian court appointed Fabergé Court Goldsmith, and in 1900 his work represented Russia at the 1900 World’s Fair in Paris.  The House was awarded a gold medal and the city’s jewelers recognized Carl Fabergé as maître. Additionally, Carl Fabergé was decorated with the most prestigious of French awards; he was appointed a Knight of the Legion of Honour. Two of Carl’s sons and his Head Workmaster were also honored. Commercially the exposition was a great success and the firm acquired many orders and clients. Carl Faberge became the Tsar’s Court Goldsmith in 1910.  The House of Fabergé had over five-hundred employees, designers, craftsmen and salesmen dedicated to the production of luxury accessories for the wealthy.  The House of Fabergé had branches in Moscow, Odessa, Kiev, and London.

In 1913, Fabergé was commissionesd to make a variety of pieces to commemorate the Tercentenary of the Romanoff’s rule in Russia.  He created brooches and pendants incorporating carefully enameled models of Peter the Great’s sable-trimmed Shapka or Cap of Monomach to be presented to each of the Grand Duchesses and ladies of the Court.

In 1917, Carl Fabergé fled to Wiesbaden, after his workshops were shut down due to the revolution. On September 24, 1920, at the age of 74, Faberge died in Lausanne, Switzerland and was buried in Cannes France next to his wife Augusta.  It was the end of a golden era. 

Carl’s sons Eugene and Alexander Fabergé founded a successor company in Paris in 1924; but were not successful.  Interest in Faberge's creations was renewed after a 1977 exhibit in London. Additional successful exhibitions have since been held in Helsinki, New York, London, and Munich. Faberge's family continued in vain to try and revive the company. In 1989, they selected workmaster, Victor Mayer to continue Faberge's lifework after a 70 year lapse.  A new collection was presented in Munich in 1990. In honor of Faberge's 150th birthday, new creations were presented to the public in New York in 1996.
Lucien was also a great admirer of Japan as was his father.  He extensively studied the albums of Hokusai prints borrowed from the connoisseur and critic Philippe Burty, the writer Théophile Gautier, the ceramist François-Eugène Rousseau, or purchased from the famous Orientalist Madame Desoye.  Models were also available in the Encyclopédie des Arts Décoratifs de l’Orient.  Lucien was a great advocator of careful studies of Japanese art and culture.

In 1862, Lucien visited the International Exhibition in London and saw the first display of Oriental works of art.  In 1867, Lucien and Alexis saw Christofle’s display of cloisonné enameled objects at the Expositon Universelle.

 Alexis Falize retired in 1876; and Lucien who had been in partnership with his father since 1871, took over the firm.  In 1878, Lucien participated in the Exposition Universelle, exhibiting for the first time under his name.  He was awarded the Légion d’Honneur and a Grands Prix.  The other two were given to Oscar Massin and Frédéric Boucheron.

Falize’s collection featured a variety of pieces such as a hunting bracelet in the 14th century manner, a badge of St George after Albrecht D?rer, an enameled head ornament in the 16th century aesthetic, an Indian-style necklace, a Japanese-style cloisonné enameled bonbonnière, a Chinese-style hair ornament, and a basse-taille enamel after Van Eyck.

Lucien found limitless inspiration in the Renaissance.  He reproduced portraits in basse,taille enamel to great effect.   In 1880, Germain Bapst, descendant of the famous Crown Jewelers, approached Falize and offered him a partnership between the two firms.   Lucien agreed, and the new firm Bapst et Falize was opened at 6 Rue d’Antin that same year.  In 1889, they exhibited together at the Exposition Universelle.  Lucien’s contribution earned him the decoration of Officier de la Légion d’Honneur.  Among the pieces in the collection was a bracelet decorated with chamomile flowers and a silver bracelet with two pigeons and verses taken from La Fontaine’s poem of the same title.

Through Lucien Falize’s writings we discover the extent of his research and knowledge of jewelry past and present.  He was frequently asked to write official reports for various exhibitions.  His most famous and extensive document was the one published after the 1889 Exposition Universelle.  He also contributed to art journals, including La Revue des Arts Décoratifs, in which he frequently appeared under the pseudonym of Monsieur Josse.  His articles appeared in many other publications, such as the Siegfried Bing’s Artistic Japan.  Lucien was often called upon to deliver lectures and was much respected for his culture as well as for his reputation as a jeweler.

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers

Best Jewelry Designers Jewelry Desgin Sketches Ideas 2014 Neclkace Ring Earringes Gallery Bangles Software Drawing Images Photos Wallpapers