The gorgeous collection is composed of 11 jewellery collections. Camellias seem to be laser-cut in gem-set lace. Ribbons of diamond loop, knot and drape so fluidly it’s easy to forget their true hardness. Each piece is punctuated by a deliberate asymmetry, but far from jarring the eye, it seems to stream in perfect tandem with the slopes and lines of the body.Each set bears the first names of Chanel’s early influencers and collaborators. It’s a romantic gesture which invites one to have a private interest in the women, nevertheless, such as the enigmatic Chanel herself, most are shrouded in mystery.The designs however, are unmistakably Chanel. The jewellery perfectly illustrates the guiding principles of her clothing — freedom, lightness and sobriety — while proudly displaying stylistic elements representative of her tastes — the camellias she adored, and the ribbon and lace which were her first tools in defying convention.Chanel actually started as a milliner, and her works favoured chic lace and ribbon over feathers that she deemed overly ostentatious. Fresh, feminine and innovative, Coco avant Chanel is a masterful set and a fitting homage to some design legend.The large year for diamonds was 1932. The great Coco Chanel, whose first love was costume jewellery, turned her formidable design gifts to diamonds.Chanel said: In my occupation, any means is legitimate, provided it is only used at the true spirit of fashion. I started creating costume jewelry because I believed it was refreshingly free of arrogance, during a time that tended towards ostentatious displays of luxury.

Despite being christened Eugénie, Coco Chanel’s mother was known only as Jeanne. Her sister Antoinette was one of her first versions, parading her clothing daily across the hotel boardwalks of Deauville in which Chanel had her initial clothing boutique — the Paris speech at rue Cambon was originally just licensed to sell hats. Lady Suzanne Orlandi was the first girl to wear the little black gown, a Chanel creation and potentially the most important contribution to the modern wardrobe.These are only some of the girls who made their mark on Chanel’s life in her early days before 1920, and their names are immortalised in the latest fine-jewellery series, Coco avant Chanel.The collection is performed up in chic colors of white, pink and grey, realised in Padparadscha sapphires, Western and Tahitian pearls, morganite, grey spinels and moonstones. But most of the bits, such as the pièce de résistance — the Gabrielle Chanel necklace — are unsurprisingly dominated by the most enduring gemstone of : diamonds.In keeping with the theme of roots the necklace is deliberately named after Chanel’s given name rather than Coco — the nickname she gave herself. It is a collar necklace made from 1,581 diamonds, using camellia patterns which overlap and swirl around a 10.02ct pear-cut diamond set from the centre.Despite that the necklace’s girth, the overall perception is one of lightness, thanks to its strategic openings around the diamond that resemble the fearless snips of a seamstress’s scissors.

So what changed? The Great Depression, that’s what. Chanel lent her aid to the bead firms which were fighting in the depression, which had set in by 1929 and lasted until the late 1930s. Her justification was that “through the economic downturn … there emerged an instinctive appetite for authenticity”.So in 1932, Chanel created a high-jewellery collection of 35 pieces featuring authentic diamonds. Together with the first use of precious stones in her designs, Chanel created a sensation in the fashion world. She might have used coloured stones but chose not to. “If I’ve chosen diamonds, it is because they represent the best value from the tiniest volume.The motivation behind the invitation to generate a diamond collection has been only to revitalise the marketplace. It is an indication of Chanel’s influence on fashion and society that this was considered a powerful strategy — one woman to save a business dominated by men.Chanel was crucial to liberating women by introducing them into more relaxed, comfy clothing. She had a personal following among girls. Women looked at the 1932 diamond group with a view to purchasing for themselves, rather than waiting to receive.What they saw, when seeing the jewellery in her rue du Faubourg Saint-Honoré salon, in November 1932, was average Chanel. She called the collection simply Bijoux de Diamants.

The gorgeous collection is made up of 11 jewellery collections. Camellias seem to be laser-cut in gem-set lace. Ribbons of diamond loop, knot and drape so fluidly it’s easy to overlook their true hardness. Each piece is punctuated by a deliberate asymmetry, but way from jarring the eye, so it seems to stream in perfect tandem with the slopes and traces of this body.Each set conveys the initial titles of Chanel’s early influencers along with collaborators. It’s a romantic gesture that invites one to have a personal interest in the women, yet, such as the enigmatic Chanel herself, many are shrouded in mystery.The designs however, are unmistakably Chanel. The jewellery perfectly illustrates the guiding principles of her clothing — liberty, lightness and sobriety — while proudly displaying stylistic components representative of her preferences — the camellias she adored, and the ribbon and lace that were her original tools in exposing convention.Chanel actually started as a milliner, and her works favoured chic lace and ribbon over feathers that she deemed overly ostentatious. Fresh, feminine and sophisticated, Coco avant Chanel is a masterful collection 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 stated: In my profession, any means is legitimate, provided it is only utilized in the authentic spirit of fashion. I started creating costume jewellery because I believed it was refreshingly free of arrogance, throughout a time that tended towards ostentatious displays of luxury.

Unusual pearls.Before Coco Chanel introduced costume jewelry, faux jewellery was only worn by those who couldn’t afford real jewelry. Next to this, piling rope upon string of pearls during the afternoon, was something that an upperclass woman wouldn’t do. Big pieces of jewellery were only worn after wearing a ballgown. Though Coco Chanel owned many expensive jewelry bits she always blended her expensive jewelry using artificial ones. She said: Chanel’s Métiers d’Art runways are often an event to bring out the brand’s preferred emblems. By offering a fresh variant of the legendary pearl necklace in this collection, the home on rue Cambon is introducing the job of Desrues – sprinkled necklaces which are masterfully opulent.It’s disgusting to walk around with millions dollars around the neck because one appears to be wealthy. I only like fake jewelry because it’s provocative”.And for this announcement Chanel brightly turned the undesirable costume jewellery into a fashion trend. She was the first designer to present large faux pearl pieces. Coco reasoned that if women could buy something more affordable than actual jewelry, they could correctly accessorize every outfit they’d had, rather than sticking with a few straightforward pieces. “Costume jewelry isn’t designed to give girls an aura of wealth, but to make them lovely she said.There’s no greater logo for Coco Chanel’s style. Pearls, whether the sacred originals or faux pretenders, possess a particular signification to the double C manufacturer.

Unusual pearls.Before Coco Chanel introduced costume jewellery, faux jewellery was worn by those who could not afford actual jewelry. Alongside this, piling on rope upon rope of pearls throughout the afternoon, was something an upperclass lady wouldn’t do. Big pieces of jewellery were only worn when wearing a ballgown. Though Coco Chanel possessed many expensive jewelry bits she constantly combined her expensive jewelry using faux ones. She said: Chanel’s Métiers d’Art runways are often an event to bring out the brand’s favorite emblems. By offering a new version of the mythical pearl necklace in this collection, the house on rue Cambon is introducing the work of Desrues – sprinkled necklaces which are masterfully opulent.It’s disgusting to walk round with millions dollars round the neck because one happens to be rich. I only like fake jewelry because it is provocative”.And with this announcement Chanel brightly turned the unwanted costume jewellery into a fashion trend. She had been the first designer to present large faux pearl pieces. Coco concluded that when girls could purchase something more affordable than actual jewelry, they can properly accessorize every outfit they had, rather than sticking with a few straightforward pieces. “Costume jewelry is not designed to give women an aura of wealth, but to make them lovely she said.There’s no better emblem for Coco Chanel’s style. Pearls, if the sacred originals or artificial pretenders, possess a special signification to the dual C brand.

Coco Chanel connected wheat with good fortune,” said Benjamin Comar, the international director of Chanel Fine Jewelry.The 62-piece line gracefully works grain vision into bracelets, rings, bracelets, earrings and watches in yellow and white gold set with diamonds and colored gemstones; prices per piece include $40,700 to $3,732,300. The French fashion house always selects a Coco-appropriate theme for its high-jewelry collections (2013’s lion represented her zodiac sign, Leo). To showcase the line, Chanel is sponsoring a wheat-based art installation by Gad Weil on Place Vendôme, across from its own jewelry and observe flagship, during Paris Couture week from July 1. It’s a kind of haute harvest for those struggling to buy an extravagant bauble.As among their most noteworthy fashion leaders ever, Coco Chanel’s heritage and fashion has carried on into the modern day trend market. Below, find 10 ways the Coco has shaped fashion.THE LITTLE BLACK DRESS Chanel once said, “girls consider all colours except that the absence of colour. I have already said that shameful has it all.” Her popularization of this classic little black dress is incontrovertible. In 1926, a very simple sketch of a woman wearing a black gown was published in Vogue. The magazine called the apparel A “type of uniform for many women of taste.” Versatile, simple, yet elegant, the tiny black dress turned into an important part of each woman’s wardrobe.THE CLASSIC CHANEL SUIT Chanel took a risk, but successfully integrated menswear to her line of women’s clothing; Her signature suits utilized a traditionally masculine appearance, yet took off with girls everywhere.

For those who cannot get enough of wearing jewellery, the apparel change is no reason to begin leaving your favorite pieces in the jewelry box. This winter the style gurus are advocating that you emphasise your personal style with the help of long, thin sautoirs and bracelets worn either individually or together as a part of your very own jewellery ensemble.At Chanel’s autumn-winter series 2015/2016, one model’s décolleté was completely covered by long ropes of pearls flowing from the neck to the trouser line; Moschino didn’t tack on sautoirs either, only in their case it had been gold chains partially embroidered onto the clothing with golden thread. Designers Givenchy and Chloé were more controlled with their autumn-winter jewellery selection, completing their outfits with two or three waist length chains, while Roberto Cavalli held back together with only the only low hanging pendant.Ever since the purchase price of gold rocketed in 2012, jewelry chains in vogue are becoming less chunkier, but this has only encouraged experimentation in regards to how they’re worn. I’d suggest to any contemporary fashionista they allow their creativity come to the fore and assemble their particular mixture of layered sautoirs.Around the age of 20, Chanel became involved with Etienne Balsan, who offered to help her launch a millinery business in Paris. She soon left him for a few of his wealthier buddies, Arthur “Boy” Capel. Both men were instrumental in Chanel’s first style enterprise.

Fulco drew inspiration for this from the famous Ravenna mosaic. During his work for Chanel, he was motivated by the ornamental type of byzantine, ancient Christian mosaics that he saw at the basilicas of his residence Sicily; renaissance portraits, especially those by Rafael, along with the luxurious baroque décor at the famed cathedrals of Palermo and Naples.Another important name connected to Chanel bijou of this 1920-1930s is the François Hugo, the great grandson of Victor Hugo. He also dealt with cloths and managed a plant in Anieres before his work designing jewelry. He became an superb designer, he was in fantastic need and sketched designs for jewelry not just for Chanel, but also for Elsa Schiaparelli.Practically all jewelry of the age wasn’t marked with a touch or brand right before the house of Chanel was closed down later Paris was occupied in 1940 by the German Wehrmacht. This usually means that the validity of these pieces can be tricky to ascertain, yet in most instances they were catalogued, cost a lot of money, are held in collections and are sold at auction and by respectable antique dealers. In the 1940’s and in early 1950’s, while Chanel was residing in Switzerland along with her style house was closed, jewelry carrying the Chanel trademark wasn’t produced. You may sometimes see enamel brooches dated 1941 and marked as Chanel in classic jewelry markets, but this jewelry was fabricated by the American Chanel Novelty Company; that a lawsuit filed by Chanel forced them to change their name into the Reinad Novelty Company.

Rather than displaying the magnificent diamonds in glass trays, they had been worn with life-like wax versions dotted around her townhouse on rue du Faubourg-Saint-Honoré.Mademoiselle had originally planned to show the stones in London however, the strict British Customs regulations prevented that from occurring. So it’s fitting that today, over 80 decades after, the Saatchi Gallery will host the Mademoiselle Privé exhibition, including re-editions of the Bijoux de Diamants jewels. In 2012, the Maison established the Chanel 1932 set of 80 bits that echo the themes of their original collection, together with iconic motifs like stars, comets, suns, bows and feathers. It must be noted that Chanel, being of small source, had a fire for aristocrats. Her affairs with all the Grand Prince Dmitry Pavlovich and the Duke of Westminster testify to this. At the same time from the 1920’s she made friends with all the Sicilian Duke Fulco di Verdura at a party in Venice thrown by Linda and Cole Porter at 1925. Due to his familiarity with Chanel, Verdura, that had been in need of an income, discovered what would prove to be his life’s work. Back in 1927, Chanel invited him to function as a textile designer in her fashion home, before requesting him to create a few sketches of jewellery, and it was here that his true talent was revealed. Their alliance continued until 1934 when the Duke transferred to America. It had been 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.

Fulco drew inspiration for it from the famous Ravenna mosaic. During his job for Chanel, he was motivated by the ornamental style of byzantine, ancient Christian mosaics he saw at the basilicas of his residence Sicily; renaissance portraits, notably those by Rafael, along with the luxurious baroque décor in the famous cathedrals of Palermo and Naples.Another significant name connected to Chanel bijou of this 1920-1930s is that of François Hugo, the great grandson of Victor Hugo. He also dealt with cloths and managed a plant in Anieres prior to his job designing jewelry. He became an excellent designer, he had been in fantastic need and sketched designs for jewellery not only for Chanel, but also for Elsa Schiaparelli.Practically all jewelry of that age was not marked with a touch or brand right until the home of Chanel was closed down later Paris was occupied in 1940 by the German Wehrmacht. This usually means that the validity of these pieces can be difficult to ascertain, yet in most cases they have been catalogued, cost a lot of cash, are held in collections and are sold at auction and by decent antique dealers. From the 1940’s and at early 1950’s, while Chanel was residing in Switzerland along with her style house was closed, jewelry carrying the Chanel trademark wasn’t produced. You may sometimes see enamel brooches outdated 1941 and marked as Chanel in vintage jewelry markets, but this jewelry was fabricated from the American Chanel Novelty Company; which a suit filed by Chanel compelled them to change their title into the Reinad Novelty Company.

Chanel Silver Tone Charm Necklace Features:

Brand: Chanel

Gender: Womens

Condition: Good (Discoloration of the hardware. Scratches on the surface.)

Metal: Silver Tone Hardware

209941

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