Vintage Philippe Ferrandis PARIS, Dragon s Breath Crystal Droplet Earrings 1990s

How beautiful. These Vintage Double Cascade Earrings are so clever in their design. Featuring a double row of claw set rhinestones and ...

A pair of celestial Vintage Dragon's Breath Cabochon Earrings from the 1970s. A wonderfully large cabochon seems to hold a kaleidoscope of colours embraced by a lustrous golden galle...

Delightful Vintage Crystal Drop Earrings. Featuring the prettiest fancy cut crystals. Sparkle all the way with these long and lovely creations. Vintage Condition: Very good without ...

An ultra rare pair of Vintage Ungaro Statement Cabochon Earrings. Grandeur and craftmanship combine to perfection in these one-of-a-kind hand-made earrings. Brushed gold plated metal is set with large, opulent teardrop shaped cabochon glass embellishments. Most likely blown glass, the stones are each a work of art in themselves. In blues, greens and reds offering a nod to sapphires, emeralds and rubies these earrings are something very special indeed. Their scale is extreme, and your look will be a bold one; build your outfit around these rare finds and prepare to wow. Since 1965 Emanuel Ungaro’s flamboyant use of pattern and elegant draping earned him a place as one of the great couturiers of the mid Century. His jewels often highly sculptural and bold, remain a perfect tribute to his enduring legacy...

Vintage Gripoix Translucent Earrings with Pieces Of Gold. Dangling Earrings With Pieces of Gold and Stones. Long Necklace/Sautoir on Site to Match. So Gorgeous! Clip On. Guy de Maupassant wrote a famous story about a necklace. The story revolves around a young, attractive, and intelligent woman who struggles with the limitations of living with a husband who lacks exceptional qualities. One day, to entertain his dejected spouse, her husband receives an invitation to a ball and gives his wife the 400 francs he had saved for a hunting rifle so that she can order an appropriate dress. However, when the dress is ready, it becomes clear that it is lacking jewelry, and it would be impossible to attend the ball while looking so poor. The protagonist approaches her wealthy childhood friend, with whom she was raised at the monastery, and borrows a diamond necklace from her. The ball is a great success, and she is the centre of attention. However, when the woman returns home, she discovers that she has lost the necklace. To conceal her faux pas from her friend, she buys a new necklace identical to the one she lost. To pay it off, the woman becomes mired in massive debt, which, over the years, gradually drags her down the social ladder from the bourgeoisie to poverty. Ten years later, having lost her good looks, the woman encounters her friend on the Champs-Élysées, who still looks young, beautiful, and rich. The protagonist reveals to her friend the entire story about the necklace, but her friend replies in amazement that the diamonds were fake and would “cost 500 francs at most.” Maison Gripoix starts with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glassmaker Augustina Gripoix began making replicas of pearls and crystals, casting glass into various shapes and colors and inserting them into the most sophisticated settings. She used the pâte de verre (glass paste) technique, whereby a traditional ceramic or gypsum form was filled with a multi-colour piece of glass and special gluing substances and then baked in a furnace, resulting in objects featuring fantastical hues. Only Augustina made her crystals by pouring the melted glass paste into the press moulds, skipping the furnace step, allowing her to achieve the purity of colour, transparency, and shine. She found a simple method to make beautiful jewelry and thus Marquises, Duchesses, and Princesses queued up ... so Madame Gripoix would make them replicas of their jewelry in case of robbery or loss, or some unusual jewelry pieces for their new wraps, neckpieces, or boas. The so-called ‘costume jewelry’ emerged to a large extent thanks to the work of Maison Gripoix. Augustina Gripoix earned her fame in the 1890s when she began creating necklaces for Sarah Bernhardt to wear on stage and later designed costume jewelry for the first high-fashion house, founded by Charles Frederick Worth. Later, Paul Poiret, the leading couturier of 1910, contacted her, and she created sophisticated Oriental-style jewelry for him to match his famous Oriental costumes, based on the aesthetic of Diaghilev’s initial Russian seasons. The value of costume jewelry was now being recognized in its own right and not just for imitation purposes. The taste of emancipated young girls, who were gaining more and more freedom and opportunities, was best met with bijouterie. So in the 1920s, when Augustina’s daughter Susan became the head of the House, Gripoix prospects became even more exciting. Girls with short-cropped hair in short dresses zoomed by in open-top cars wearing bijou rather than diamonds. Everyone ordered bijouterie from Madam Gripoix during this period, from Jeanne Lanvin to Jean Piguet...

This piece is an exclusive co-creation between Isabelle K jewelry and Philippe Ferrandis. His sources of inspiration are diverse; nature, history, civilizations serve as starting po...

Vintage Augustine Gripoix Pate De Verre Dangling Earrings Circa 2000s. These gorgeous Red and Diamante Pate de Verre look like creeping red flowers on a vine. They are made in two ...

Christian Lacroix Poured Glass Clip On Earrings, Gold Tone Metal and Honey-Orange Poured Glass Stones surrounded with small multicolore Glass Stones, Vintage from the 1990's Signed...