Instead of displaying the glorious diamonds from glass trays, they were worn with life-like wax versions dotted around her townhouse on rue du Faubourg-Saint-Honoré.Mademoiselle had originally intended to demonstrate the stones in London however, the stringent British Customs regulations prevented from occurring. So it’s fitting that now, more than 80 decades later, the Saatchi Gallery will sponsor the Mademoiselle Privé exhibition, including re-editions of the Bijoux de Diamants stone. In 2012, the Maison launched the Chanel 1932 collection of 80 bits that echo the themes of the original collection, with iconic themes like stars, comets, suns, feathers and bows. It should be noted that Chanel, being of humble origin, had a passion for aristocrats. Her affairs with all the Grand Prince Dmitry Pavlovich along with the Duke of Westminster testify to this. In the same time from the 1920’s she made friends with all the Sicilian Duke Fulco di Verdura in a celebration in Venice thrown by Linda and Cole Porter at 1925. Due to his acquaintance with Chanel, Verdura, that was in need of an income, found what could prove to be his life’s work. Back in 1927, Chanel invited him to work as a textile designer in her style house, before requesting him to make a few sketches of jewelry, and it was here that his true gift was revealed. Their cooperation continued until 1934 when the Duke transferred to America. It was Fulco di Verdura who made the famous Chanel silver cuff bracelets, covered with milky and black enamel and adorned with a Maltese cross made from various coloured stones.
What with the nation’s present obsession with all things under-the-sea thanks to Blue Planet II, it seems somewhat apt that pearls are having yet another moment in the fashion spotlight.The iridescent gem – which is the oldest gemstone on earth – has long been a symbol of elegance, favoured by Hollywood royalty and actual royalty alike; Audrey Hepburn, Jackie Kennedy and Diana, Princess of Wales made the pearl necklace a part of the signature style. Nevertheless, they were late to the party; the oldest signs of pearls being worn as adornment actually dates back to 520 BC and a Persian princess who was laid to rest with her pearl jewellery – that the fragments of which are now on display in the Louvre.In more recent history, pearls have come to represent polish and poise. Gabrielle ‘Coco’ Chanel made them interchangeable with her style house by wearing numerous strands continuously, even famously saying “a lady desires ropes and ropes of pearls”. To this day they remain an integral feature of the brand, emerging in some form in every ready-to-wear and couture group presented by current Creative Director Karl Lagerfeld.For Gabrielle “Coco” Chanel. Wheat was a sign of prosperity and a recurring design part in her Rue Cambon apartment: Sheaf motifs sprouted at a painting by Salvador Dalí, on a ornate fireplace mantel and the base of a Regency-style table. So it’s not as curious as it might seem that her namesake company chose this mundane stalk for a theme for Les Blés p Chanel, its latest “high-jewelry” collection (a designation for one-of-a-kind pieces which are the gem equivalents of couture).
Within the Ritz, the venue for the demonstration of this 2017 Métiers d’Art collection, the extra-long pearl necklace appeared like Proust’s madeleine. While these silhouettes were going down the runway within the last abode of the eternal Mademoiselle, it’s with no hint of nostalgia which Karl Lagerfeld evoked the go-to provider of accessories and jewelry to couture houses to attract Chanel’s signature back to life. Desrues was first launched in 1929 – they would soon be cooperating with the largest Parisian couturiers of the day. After all these years, the brand has been able to keep its savoir-faire and dedication to its exceptional craft. There wasn’t a single piece of Coco’s individual jewellery, according to her by the Grand Duke Dimitri Romanov and also the Duke of Westminster, that was not translated or reinterpreted here for the clientele of now. Now’s necklace comes in both a gilded metal plus a nacre pearl variant; this is Desrues in its best, signing off on a highly desirable piece for Chanel.Preserved as heritage to keep handing down all of the aesthetic of a timeless woman, even today, these extra-long bracelets with thin sprinklings of pearls match perfectly to the brand’s grammar. As Chanel’s runway took place on the Place Vendôme, the headquarters of French fine jewellery, all Gabrielle’s sleek frivolity was incarnated within the room. Symbol of femininity and purity, pearls – appreciated by Coco – are now the absolute sign of French refinement.
Fulco drew inspiration for this by the famed Ravenna mosaic. During his work for Chanel, he was inspired by the decorative style of byzantine, early Christian mosaics he saw in the basilicas of his residence Sicily; renaissance portraits, notably those by Rafael, along with the luxurious baroque décor at the famed cathedrals of Palermo and Naples.Another significant name attached to Chanel bijou of this 1920-1930s is that of François Hugo, the great grandson of Victor Hugo. He also dealt with cloths and handled a plant in Anieres prior to his work designing jewelry. He became an superb designer, he was in fantastic need and sketched designs for jewellery not just for Chanel, but also for Elsa Schiaparelli.Practically all jewelry of that era wasn’t marked with a signature or brand right until the house of Chanel was shut after Paris was occupied in 1940 by the German Wehrmacht. This means that the validity of these pieces can be tricky to ascertain, yet in many cases they were catalogued, cost a lot of money, are held in collections and therefore are sold at auction and from decent antique dealers. In the 1940’s and at early 1950’s, while Chanel was living in Switzerland along with her style house was shut, jewelry carrying the Chanel trademark was not produced. You may occasionally see tooth brooches outdated 1941 and marked as Chanel in classic jewelry markets, but this jewelry was fabricated by the American Chanel Novelty Company; which a suit filed by Chanel forced them to change their title into the Reinad Novelty Company.
The gorgeous collection is composed of 11 jewellery sets. Camellias appear to be laser-cut in gem-set lace. Ribbons of diamond loop, drape and knot so fluidly it’s easy to forget their true hardness. Each piece is punctuated by a willful asymmetry, but way from jarring the eye, so it seems to stream in perfect match with the slopes and traces of this body.Each set conveys the initial titles of Chanel’s ancient influencers and collaborators. It is an intimate gesture that invites you to have a personal interest in the girls, yet, like the enigmatic Chanel herself, many are shrouded in mystery.The designs however, are unmistakably Chanel. The jewelry perfectly illustrates the guiding principles of her clothes — freedom, lightness and sobriety — while displaying stylistic elements representative of her preferences — the camellias that she loved, and the lace and ribbon that were her first tools in defying convention.Chanel really started as a milliner, and her functions favoured chic ribbon and lace over feathers which she deemed too ostentatious. Fresh, feminine and innovative, Coco avant Chanel is a masterful set and a fitting homage to a style legend.The big season for diamonds has been 1932. The great Coco Chanel, whose first love was costume jewellery, turned her formidable design gifts to diamonds.Chanel said: In my profession, any means is legitimate, provided it is only used at the authentic spirit of style. I began creating costume jewelry because I felt it was refreshingly free of arrogance, during a period that tended towards ostentatious displays of luxury.
Another highlight — the Jeanne brooch — exhibits the identical airiness and features camellias, leaves and abstract birds that bring to mind the beloved Coromandel Chinese folding screens she retained in her Paris apartment.The brooch is centred on a sparkling pink cushion-cut spinel weighing 10.07ct, with pink sapphires and grey spinels sprinkled around showing the motifs. The piece features bits of blackened gold that lend it a depth and gravity which impeccably balance the overall lightness of it as well as add a trendy modern feel.The Maud and Marthe series are where Chanel’s penchant for ribbons shines through.The craftsmanship is exceptional — they look so real. The Maud series makes a theme from the irregular fanned ends of a ribbon at the end of a knot, and the comparison between the angular ends and curvaceous spins is enhanced with the use of round vibrant and baguette-cut diamonds. The Maud earrings are a perfect case, and therefore are finished off with just two pear-cut diamonds of approximately 1ct each.The Marthe series is a study of white and black. Blackened gold edges provide the illusion of chic monochromatic ribbon dangling around itself and falling perfectly set up, imparting just enough intensity without being too stark.The selection of gray spinels atop the darkened ends subtly adds depth whilst preserving.the overall translucency of the piece. The accession of creamy strands of little pearls is a masterstroke. Japanese cultured pearls bridge the dichotomy of black and white and enhance the movement produced by the diamond ribbons, bestowing the sumptuousness and femininity synonymous with pearls.
Inside the Ritz, the place for the demonstration of the 2017 Métiers d’Art collection, the extra-long pearl necklace appeared like Proust’s madeleine. While these silhouettes were moving down the runway within the last abode of the eternal Mademoiselle, it is without a hint of nostalgia that Karl Lagerfeld evoked the go-to supplier of jewelry and accessories to couture homes to bring Chanel’s signature back to life. Desrues was first established in 1929 – they would soon be cooperating with the biggest Parisian couturiers of the day. After all these years, the brand has been able to maintain its own savoir-faire and devotion to its exceptional craft. There wasn’t a single piece of Coco’s individual jewellery, given to her from the Grand Duke Dimitri Romanov or the Duke of Westminster, that wasn’t translated or reinterpreted here to the clientele of now. Now’s necklace comes in both a gilded metal plus a nacre pearl variant; this can be Desrues at its best, signing off on an extremely desirable piece for Chanel.Preserved as legacy to maintain handing down all of the aesthetic of a timeless woman, even today, these extra-long necklaces with sparse sprinklings of pearls fit perfectly into the new grammar. As Chanel’s runway happened on the Place Vendôme, the headquarters of French fine jewelry, all Gabrielle’s sleek frivolity was incarnated within the room. Symbol of femininity and purity, pearls – appreciated by Coco – are today the complete sign of French refinement.

Her strategic use of metallic buttons, fitted sleeves, and knee-skimming skirts and skirts left the match with a classy look–touches of femininity in most of the ideal places.COSTUME JEWELRY Chanel was one of the first set of designers to make costume jewelry high fashion and chic. Back in 1939, Chanel published a touch necklace–a bib made up of dangling, dainty chains amalgamated faux pearls along with other uncut stone. This type of necklace, together with her introduction of oversize pearls stringed together, created a fashion that’s influence remains located in Chanel’s designs today.TROUSERS Chanel integrated traditionally manly clothes into her assortment in more ways than you. During Coco’s time, a woman in trousers would’ve been unheard of, which is likely what spawned the idea in the first location. At a post-World War I era, Chanel was liberating women of the confines of dresses. Can you imagine a time without your favourite pair of jeans or flowy trousers? Thank you, Coco.NAUTICAL TOPS Nautical inspiration has lasted for several decades thanks to Chanel. Founded in 1917, in her store in Deauville, France, Chanel cemented the validity of a prominent trend; horizontal stripes.While her clothing designs were known for their delicate palate and ease, Coco Chanel’s taste in jewellery was daring and theatritical. She was rarely seen without a heaping pile of pearls round her throat. Together with her imitation pearls and gold fever, she was the one that brought faux jewelry into the mainstream crowds.

Her tactical use of metallic buttons, fitted sleeves, and knee-skimming skirts and skirts left the match with a sophisticated look–touches of femininity in most of the ideal places.COSTUME JEWELRY Chanel was among the earliest group of designers to make costume jewelry high fashion and chic. In 1939, Chanel released a touch necklace–a bib made up of dangling, dainty chains amalgamated faux pearls and other uncut stones. This type of necklace, along with her debut of oversized pearls stringed together, created a fashion that has influence is still located in Chanel’s designs today.TROUSERS Chanel integrated traditionally masculine garments into her assortment in more ways than one. Throughout Coco’s time, a woman in pants would have been unheard of, which is likely what spawned the idea in the first place. In a post-World War I era, Chanel was women of the confines of dresses. Can you even imagine a time without your favourite pair of jeans or flowy pants? Thank you, Coco.NAUTICAL TOPS Nautical inspiration has lasted for several decades thanks to Chanel. Founded in 1917, in her store in Deauville, France, Chanel cemented the validity of a dominant fashion; horizontal stripes.While her clothes designs were known for their delicate palate and ease, Coco Chanel’s taste in jewellery was bold and theatritical. She was rarely seen without a heaping pile of pearls round her throat. With her imitation pearls and gold fever, she had been the one that attracted faux jewelry into the mainstream audiences.

Another highlight — the Jeanne brooch — displays the same airiness and features camellias, abstract and leaves birds that bring to mind the beloved Coromandel Chinese folding screens she retained in her Paris apartment.The brooch is centred on a dazzling pink cushion-cut spinel weighing 10.07ct, with pink sapphires and gray spinels sprinkled around showing the motifs. The piece features bits of blackened gold which lend it a depth and gravity that impeccably balance the general lightness of it and add a cool contemporary feel.The Maud and Marthe series are where Chanel’s penchant for ribbons shines through.The craftsmanship is exceptional — they look so real. The Maud series produces a theme from the irregular fanned ends of a ribbon in the end of a knot, and the comparison between the angular ends and curvaceous spins is enriched by means of round vibrant and baguette-cut diamonds. The Maud earrings are a perfect example, and therefore are finished off with just two pear-cut diamonds of about 1ct each.The Marthe series is a study of white and black. Blackened gold edges provide the illusion of chic monochromatic ribbon dangling around itself and falling perfectly set up, imparting only enough intensity without being overly stark.The selection of grey spinels atop the darkened ends subtly adds depth while preserving.the overall translucency of the piece. The addition of creamy strands of small pearls is a masterstroke. Japanese cultured pearls bridge the dichotomy of black and white and improve the motion created by the bead ribbons, bestowing the sumptuousness and femininity synonymous with pearls.

Chanel CC Logo Gold Tone Metal Pearl Necklace Features:

Brand: Chanel

Gender: Womens

Condition: Good (A Few Peelings)

Material: Gold Tone Hardware and Pearls

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