Stazia Loren Earrings

Vintage French Gold Tone Faux Pearl Grey and Ivory Dangling Earrings. Very much in the style of Chanel. Just have a good look at these. The color gold is in the style of Chanel. T...

Collectible Augustine Gold Tone Red Pate De Verre Dangling Earrings. There is a faux pearl in the center. Pierced. Not signed, But Augustine. These are so fresh and updated. August...

Maison Gripoix Vintage Blue and Light Blue Flower Dangling Earrings Set in Gold Tone Clip On. Always In Style. Very Classic Chic. These are so spectacular. I have them in red as well. The prices differ because they were purchased at different exchange rates. These are stunning. They will never go out of style!! Guy de Maupassant wrote a famous story about a necklace. The story is about a young, attractive, intelligent, well-educated, but under-endowed bride who must marry a petty official and thus suffers from the limitations of living with a husband who lacks refined 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; she is the center of attention. However, when the woman returns home, she discovers 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 gets into a huge 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 Elysees, who still looks young, beautiful, and rich. The protagonist reveals the entire story about the necklace to her friend, but her friend replies in amazement that the diamonds are fake and would “cost 500 francs at most.” Maison Gripoix starts with a dramatic story. According to other sources, in 1869 (or a year earlier), Paris master glass-maker Augustina Gripoix began making replicas of pearls and crystals, casting glass into different 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-color 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 molds, skipping the furnace step, allowing her to achieve purity of color, 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 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 Charles Frederick Worth's first high-fashion house. Later, Paul Poiret, the leading couturier of the 1910s, contacted her, and she created sophisticated, Oriental-style jewelry 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 1920, when Augustina’s daughter Susan became the head of the House, Gripoix's 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...

Maison Gripoix Vintage Faux Turquoise and White Layered Dangling Earrings. There are three layers to this, all wrapped in an offset gold tone and then a long, dangling piece. These are so stunning and look good with many colors. Clip On. These are proper statement earrings in that they are so well-made. These can also be worn in the winter against dark colors. Guy de Maupassant wrote a famous story about a necklace. The story is about a young, attractive, intelligent, well-educated, but under-endowed bride who must marry a petty official and thus suffers from the limitations of living with a husband who lacks refined 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; she is the center of attention. However, when the woman returns home, she discovers 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 gets into a huge 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 Elysees, who still looks young, beautiful, and rich. The protagonist reveals the entire story about the necklace to her friend, but her friend replies in amazement that the diamonds are fake and would “cost 500 francs at most.” Maison Gripoix starts with a dramatic story. According to other sources, in 1869 (or a year earlier), Paris master glass-maker Augustina Gripoix began making replicas of pearls and crystals, casting glass into different 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-color 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 molds, skipping the furnace step, allowing her to achieve purity of color, 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 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 Charles Frederick Worth's first high-fashion house. Later, Paul Poiret, the leading couturier of the 1910s, contacted her, and she created sophisticated, Oriental-style jewelry 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 1920, when Augustina’s daughter Susan became the head of the House, Gripoix's 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...

Maison Gripoix Vintage Faux Pearl and Red Dangling Earrings. Wrapped in woven gold around the Pearl in the typical 1980s style of Chanel. Clip on. So classic, and you always look good no matter what you are wearing when you have these on. Clip on. Very much the colors of Chanel. 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; thus, suffering from the limitations of living a life with a husband that lacked any exquisite 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 gets into a huge 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 Elysees, 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 out with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glassmaker Augustina Gripoix began creating 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 create beautiful jewelry, and thus, Marquises, Duchesses, and Princesses queued up. Madame Gripoix would then create replicas of their jewelry in case of robbery or loss or unusual 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 of 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...

Vintage Yves Saint Laurent Rive Gauche YSL Earrings. Butterfly Earrings with Pink and Blue Crystal and Faux Pearl on Hammered and Swirled Metal. Clip On...

Vintage Round and Baguettes with Sapphire Blue Earrings Circa 1960s.Vintage Round Cut Crystals with Sapphire Crystal Baguettes Earrings. These have the l...

Vintage Valentino Gold Tone Crystal and Sapphire Blue Crystal Butterfly Earrings. These gorgeous classic earrings feature Clear Blue sapphire Color Crystals set in Gold tone. Clip o...

Vintage Lorenz Baumer Gold Tone Crystal Earrings. Amazing Shape. 2" L x 1.75" W. Lorenz Baumer is a renowned jeweler in Paris, located on Place Vendôme, and has designed fine jewe...

Vintage Maison Goossens Yves Saint Laurent YSL Gold Dangling Resin Earrings. Misshapen Pieces Form these Very Classy and Chic Earrings That are ...

Vintage Yves Saint Lauren YSL Couture Gold Tone with Large Blue Crystals. These are spectacular. The Couture pieces are not signed. If...

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. The Couture pieces...

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 tha...

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 they remain so relevant today and are not mass-market products. When you have these, you have them forever. These are actual collectibles to be handed down. They match anything. Wear a black outfit, a white outfit...

Vintage YSL Pink and Amber Color Dangling Earrings. They are two round discs on top of each other to form these earrings. You don't really see the amber color, but it's an offset th...

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 Yves Saint Laurent in the 1980s. So stylish 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...

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, conveying a sense of 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 quickly wear them for 20 hours. Please ask for them. 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; thus, suffering from the limitations of living a life with a husband that lacked any exquisite 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 gets into a huge 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 Elysees, 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 out with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glassmaker Augustina Gripoix began creating 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 create beautiful jewelry, and thus, Marquises, Duchesses, and Princesses queued up. Madame Gripoix would then create replicas of their own jewelry in case of robbery or loss, or unusual 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 of Charles Frederick Worth. Later on, 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; however, the best relationship Gripoix had was with Gabrielle 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. She asked her to create 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 a single item; for example, she would pair natural and imitation pearls in a single necklace. Gripoix made them in such a way that it was impossible to distinguish between them. Susanne Gripoix created unique, irregularly shaped glass pearls for Chanel, imitating 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 leading supplier to the couturier houses in Paris, Gripoix collaborated with many renowned designers, including Cristóbal Balenciaga, Pierre Balmain, and Christian Dior, as well as Yves Saint Laurent and, later, 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-owned company, but the House still crafts jewelry, although the style has undergone considerable changes over the last few years. The jewelry has become more straightforward, 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....

Maison Gripoix Vintage Red and Green Flower Dangling Earrings Set in Gold Tone. These are some of the most stunning earrings in my collection. The colors, of course, and the way they are made. They are just exceptional. 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. 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; thus, suffering from the limitations of living a life with a husband who lacks any exquisite 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 creating replicas of pearls and crystals, casting glass into various shapes and colors and setting them in 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 create beautiful jewelry, and thus, Marquises, Duchesses, and Princesses queued up. Madame Gripoix would then create replicas of their jewelry in case of robbery, loss, or for unusual pieces to be used in 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; however, the best relationship Gripoix had was with Gabrielle 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. She asked her to create 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, featuring 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 a single item; for example, she would pair natural and imitation pearls in a single necklace. Gripoix made them in such a way that it was impossible to distinguish between them. Susanne Gripoix created exceptional, irregularly shaped 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 leading supplier to the couturier houses in Paris, Gripoix collaborated with many renowned designers, including Cristóbal Balenciaga, Pierre Balmain, and Christian Dior, as well as Yves Saint Laurent and, later, 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-owned company, but the House continues to craft jewelry, although the style has undergone considerable changes over the last few years. The jewelry has become more straightforward, more graphical, and even minimalistic. In 2011, however, Gripoix and Catherine Baba...