Pate de Verre Flower Drop Earrings

Design by Françoise Montague. Gripoix work by former artisans of the atelier. Clip earrings Gripoix work ( famed pate de verre for the House of Chanel) was used for these clover dro...

Designed by a former artisan from the House of Gripoix. Paté de verre is a French term which literally means “glass paste”. Ground glass, which could be colored by pigments, is poure...

From Philippe Ferrandis collection, these clip earrings are made with Swarovski crystals on gilded brass Philippe Ferrandis has been a parurier in Paris since 1986. He creates two collections a year, always different and spectacular inspirations. The elegance, glamour and quality of her creations seduce bold women. Philippe Ferrandis attaches great importance to the choice of materials he uses...

Enameled flower in shades of rose color with stripes for a petal illusion. Handmade glass cabochons on rhodium metal. Clip earrings

SHOULDER - DUSTER EARRINGS ARE TRENDING - here's why.... Whether you're a minimalist or maximalist drop earring are the ultimativ one and - done Jewel as seen on the red carpet. V...

Flower power! A pair of ornate floral clip on earrings featuring dangle jet-black, topaz, and gold crystal strands. Painted with black and yellow enamel. Set on gold plated metal. H...

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...

Flower power! A pair of ornate floral post-back earrings featuring dangle jet-black, topaz, and gold crystal strands. Painted with black and yellow enamel. Set on gold plated metal. ...