Stazia Loren

Vintage Yves Saint Laurent YSL 3 Strand Pearl and Blue Bead Necklace Circa 1990s. Quite Different. The Three Strands have 3 beads mixed in with...

Vintage Pennino Sapphire Blue and Crystal Double ended Brooch. Bouquet of Flowers on Either End. This is such an unusual brooch and looks like fine je...

Vintage Christian Lacroix Enamel and Faux Pearl Cross. Gold Tone with Pink under the Gold. Pearl Sits in the middle. Could be worn on a Link Necklace...

Vintage Coro Craft Sterling Gold Leaf Brooch with Flowers Circa 1940s. Leaf with Elevated Branches of flowers in Aquamarine Colors and Clear Crystals. This...

Collectible Augustine Silver Tone Necklace with Green Gripoix Flower and Pieces. Long Sautoir with Flower at End and dangling Green Gripoix Piece. Gripoix is always classic and alwa...

Vintage Yves Saint Lauren YSL Gold Tone Couture with Large Crystals Circa 1980s. Vintage French Gold Tone with Large Crystals. These are spectacular. Clip On. If you remind me...

Vintage Pennino Sapphire Blue and Crystal Flower Earrings. These aren't real but they do look it. Clip On. There is a Brooch on the Site that...

Vintage Deanna Hamro Dusty Rose Pearl Choker. Four rows Of Dusty Rose Pearls on Gold Bars with Pearls with Long Chain and Dangling Pearl. Always a Chic Chok...

Vintage YSL Gold Tone with Varying Shades of Pink and Crystal. Clip On. Another YSL that is just magnificent. These are definitely from the 1980s but so relevant today and not mass market anything. When you have these you have them forever. These are true collectibles to be handed down. They match anything. Wear a black outfit, white outfit...

Vintage Lanvin Gold Tone Necklace with Butterfly Clasp. Has Small Solid Squares that Make up the necklace of three rows. Very Special Piece fr...

Vintage YSL Pink and Amber Color Dangling Earrings. They are two round discs on top of each other to form these earrings. As they are Slightly Domed you see earrings almost all the...

Vintage Atalante Heavy Gold Tone Hoops. Made in France. Atalante Made Jewelry for YSL. Well Made and Heavy. Clip On. These are so well made and so chic. These are the epitome of what walked down the runways of Chanel and YSL in the 1980s. So chic and will always be in style. Gold hoops with an edge! If you remind me I will send velcro dots which will allow you to do cartwheels and wear them for hours. Trick of the trade from the models in Paris. Velcro dots from amazon that allow all clip...

Vintage Celine Dangling Globe and Arc De Triomphe Pieces with Original Box. Such a Classic Piece. I just love this piece and think it is so classy. Something about it. It is heavy an...

Vintage Christian Lacroix Dangling Crystal Silver Tone Brooch with varying shades of Amber, Red and Purple surrounded by Faux Turquoise and Silver Branches...

Maison Gripoix Vintage White and Light Purple Dangling Earrings. These will always be in style. The Chanel look has never left. It is classic and timeless and says class. It is an elevated look. No matter what you wear these will look right. A Chanel suit or jeans and a white t shirt with a blazer. You look stunning and done. These are all you need. Clip on. This look will always walk down the Chanel runway in one form or another. I will send you velcro dots to hold them on and you can do cartwheels in these earrings. The models in Paris wear them and you can easily go 20 hours. Just remind me. Guy de Maupassant wrote a famous story about a necklace. The story is about a young, pretty, intelligent, well educated but poorly endowed bride who has to marry a petty official; and thus suffering from the limitations of living a life with a husband that lacked any exquisite qualities. In order to entertain his dejected spouse, one day her husband gets an invitation to a ball and gives his wife 400 francs he had saved for a hunting rifle so that she would be able to 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 rich childhood friend with whom she was raised together 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. In order to conceal her faux pas from her friend, she buys a new necklace identical to the one she lost, and to pay it off the woman gets into a huge debt which over the years gradually drags her down the social ladder from bourgeoisie to poverty. Ten years later, having lost her good looks, the woman encounters her friend on the Champs Elysees, who still looks young, beautiful and rich. The protagonist reveals to her friend the whole 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 out with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glass-maker Augustina Gripoix began making replicas of pearls and crystals; casting glass into different shapes and colours and inserting them into most sophisticated settings. She used the pâte de verre (glass paste) technique, whereby a traditional ceramic or qypsum form was filled with a multi-colour pieces 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 qued up ... so Madame Gripoix would make them replicas of their own 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 1890’s when she started making necklaces for Sarah Bernhardt to wear on stage; and later the costume jewelry for the first high fashion house of Charles Frederick Worth. Later on, Paul Poiret, the leading couturier of the 1910’s 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 1920, 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, but certainly the best relationship Gripoix had was with Gabriel Chanel. It is well-known that Chanel, a fan of large jewelry with large stones, made bijouterie super fashionable. Chanel brought copies of byzantine jewelry to Susanne Gripoix; and asked her to make the pieces in that same style, requesting: “Let everyone think that this jewelry is not new, but found somewhere on an excavation site nearby Rue Camborne”. She was so satisfied with the result of her order that she remained a faithful client of Gripoix for several decades. This was how the famous byzantine style of Chanel jewelry was brought to life, fancying golden Maltese crosses with large multicolor stones and matching bracelets; cabochons and massive brooches all of which have become a part of the Gripoix Chanel liked to combine both natural and imitation stones in one item, for example she would combine natural and imitation pearls in one necklace. Gripoix made them in such a way that it was impossible to tell the difference between the either of them. Susanne Gripoix made special irregular shape pearls from glass for Chanel; imitating the baroque pearls. They were enameled in her workshops with mother-of-pearl to obtain some of the soft shine characteristic of natural pearls . As the main Paris supplier to the couturier houses, Gripoix worked for many designers: from Cristobal Balenciaga, Pierre Balmain and Christian Dior to Yves Saint Laurent; and later for Christian Lacroix and Marc Jacobs. However it was the cooperation with Chanel that was the most significant, both for Chanel and for Gripoix. Today Gripoix is no longer a family affair/company but the House still makes jewelry, although the style has changed considerably over the last few years. The jewelry has become simpler, more graphical and even minimalistic. In 2011, however, Gripoix and Catherine Baba...

Maison Gripoix Vintage Blue, Green and Red Dangling Earrings. These will always look classic and in style. This look never leaves the mood board. ...

Vintage Christian Lacroix Dangling Gold Tone Pearl Brooch with Pearl, Crystal, Cabochon and small Crystals in Gilded Cage like Heart with Dangling Pear Shaped Faux Pearl. This is s...

Vintage Anne Klein Toggle Necklace with Blue Disc. Can be worn Doubled around neck as shown. This is a round heavy matte gold link toggle chain with a l...

Maison Gripoix Vintage Red and Green Flower Dangling Earrings Set in Gold Tone. These are some of the most gorgeous earrings I have in the collection. The colors of course and the way they are made. They are just special. They will always be relevant. They are well made and make a statement. They are just classy and chic. Clip On. Always In Style. Clip on. I also have them in blue. They are slightly less in price due to exchange rate at time of purchase. Acquired in Paris. Guy de Maupassant wrote a famous story about a necklace. The story is about a young, pretty, intelligent, well educated but poorly endowed bride who has to marry a petty official; and thus suffering from the limitations of living a life with a husband that lacked any exquisite qualities. In order to entertain his dejected spouse, one day her husband gets an invitation to a ball and gives his wife 400 francs he had saved for a hunting rifle so that she would be able to 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 rich childhood friend with whom she was raised together 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. In order to conceal her faux pas from her friend, she buys a new necklace identical to the one she lost, and to pay it off the woman gets into a huge debt which over the years gradually drags her down the social ladder from bourgeoisie to poverty. Ten years later, having lost her good looks, the woman encounters her friend on the Champs Elysees, who still looks young, beautiful and rich. The protagonist reveals to her friend the whole 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 out with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glass-maker Augustina Gripoix began making replicas of pearls and crystals; casting glass into different shapes and colours and inserting them into most sophisticated settings. She used the pâte de verre (glass paste) technique, whereby a traditional ceramic or qypsum form was filled with a multi-colour pieces 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 qued up ... so Madame Gripoix would make them replicas of their own 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 1890’s when she started making necklaces for Sarah Bernhardt to wear on stage; and later the costume jewelry for the first high fashion house of Charles Frederick Worth. Later on, Paul Poiret, the leading couturier of the 1910’s 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 1920, 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, but certainly the best relationship Gripoix had was with Gabriel Chanel. It is well-known that Chanel, a fan of large jewelry with large stones, made bijouterie super fashionable. Chanel brought copies of byzantine jewelry to Susanne Gripoix; and asked her to make the pieces in that same style, requesting: “Let everyone think that this jewelry is not new, but found somewhere on an excavation site nearby Rue Camborne”. She was so satisfied with the result of her order that she remained a faithful client of Gripoix for several decades. This was how the famous byzantine style of Chanel jewelry was brought to life, fancying golden Maltese crosses with large multicolor stones and matching bracelets; cabochons and massive brooches all of which have become a part of the Gripoix Chanel liked to combine both natural and imitation stones in one item, for example she would combine natural and imitation pearls in one necklace. Gripoix made them in such a way that it was impossible to tell the difference between the either of them. Susanne Gripoix made special irregular shape pearls from glass for Chanel; imitating the baroque pearls. They were enameled in her workshops with mother-of-pearl to obtain some of the soft shine characteristic of natural pearls . As the main Paris supplier to the couturier houses, Gripoix worked for many designers: from Cristobal Balenciaga, Pierre Balmain and Christian Dior to Yves Saint Laurent; and later for Christian Lacroix and Marc Jacobs. However it was the cooperation with Chanel that was the most significant, both for Chanel and for Gripoix. Today Gripoix is no longer a family affair/company but the House still makes jewelry, although the style has changed considerably over the last few years. The jewelry has become simpler, more graphical and even minimalistic. In 2011, however, Gripoix and Catherine Baba...

Vintage Christian Lacroix Bronze Tone Resin and Crystal Brooch. So Different than what I have seen. Looks Great on a White or Black Shirt. Al...

Vintage Christian Lacroix Gold Tone Heart Brooch with lots of Design and has Initials CL Carved in the Middle of the Misshapen Heart Brooch. Matches a Bracelet that is on Site. Sam...

Vintage Judith Leiber Gold Horse Belt Circa 1980s. These belts were so iconic in the 1980s and you saw them on every supermodel. They were worn on everythi...