It began of course with the naming of her first perfume - Chanel No 5. This was introduced in 1921, and the parfumier Ernest Beaux was commissioned to produce a number of samples, with Coco herself making the final decision.
She chose sample No 5 and it is said that this was partly influenced by her belief that 5 was a magical number. So No 5 was the chosen name for this famous perfume.
In 1987 the launch of Chanel's No 5 Eau de Parfum (previously only parfum had been available) was celebrated on the Chanel catwalk by the number 5 being featured on a range of accessories - huge dangle earrings, pendant necklaces, chain belts. This was the first use of the number 5 in Chanel's jewellery and while it has regularly featured in more modern pieces they can never match the verve and style of these earliest pieces. As they were runway pieces and thus produced in smaller numbers they are very rare. This makes these fantastic pieces incredibly collectable.
EARRINGS
Perhaps the most recognisable of these pieces are the fun earrings with large CC dangles, in crystal or metal.
This is what two of the styles looked like on the catwalk in 1987:
NECKLACE
The featured necklace incorporated not only the number 5 but also the CC logo and a huge pearl dangle. Classic!
BELT
The belt from the collection was a leather weave goldtone chain with a square logo charm in goldtone with 5 picked out in black.
So if you are very fortunate you may come across one of these rare pieces and you will know a little of its history. If you are really, really fortunate you may even get to own your own piece of Chanel history!
]]>The term actually originates with a French woman called Augustine Gripoix, a glassworker, who revived and refined an old technique of poured glass. This involved melting the glass and pouring it into a mould, whereas the more common technique being used at the time involved grinding the glass to a fine paste and then baking it a kiln, then pouring it into moulds. Mme Gripoix's technique was easier to produce and created stones that were purer in colour and with greater transparency.
In 1890 Mme Gripoix began selling her pieces from a shop in the Parisian jewellery quarter, Rue Tiquetonne, and got her first break with a commission to produce stage jewellery for the French actress Sarah Bernhardt. Commissions from some of the great fashion houses followed, including from Charles Worth and Paul Poiret. But it was the relationship with Chanel that was to prove transformative for both parties.
By the 1920's Ausustine was dead but the business continued under her daughter Suzanne. She was approached by the young Coco Chanel to help her create her favoured Byzantine style jewellery, which required colourful bold glass stones in a variety of shapes, colours and sizes. Chanel used 16th century and Renaissance paintings for inspiration and Gripoix was asked to produce pieces from designs made by Chanel in a fruitful collaboration.
Chanel was leading the movement to make such extravagant and obviously fake costume jewellery fashionable. She had exacting standards, and asked that the Byzantine pieces that Gripoix produced should look not new but as if they had just been freshly excavated. Chanel was so happy with the results that she continued to be a faithful customer of the House of Gripoix until her death, and worked collaboratively with them on a number of collections over the years. and it was this lifelong relationship that was to define Gripoix and firmly cement it as the foremost producer of the highest quality costume jewellery.
Though Chanel was regarded as their most important relationship, the acclaim they achieved as a result of the work they undertook for Chanel allowed them to develope relationships with all the great French designers of the 20th Century - Yves Saint Laurent, Christian Dior, Ballenciaga, Balmain - and the pieces that were produced are amongst the most collectable today. This is due not only to the quality of the design but also the amazing workmanship and durability of each piece. And it is a testament to the original Mme Gripoix that her name has come to be synonymous in describing any high quality poured glass stone.
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A lot has been written about Chanel sunglasses and how to spot fakes, but the writers of such advice seem to concentrate on new/almost new Chanel sunglasses and fail to take into account the amazing vintage Chanel sunglasses which due to their exclusivity are so in demand by top celebrities and vintage fans alike. There is so little information available, and what is available is often downright confusing, that I have compiled this guide to try to help you authenticate your vintage sunglasses, and to show when they were produced and where they were purchased. I can't find out everything I would like to know so further information would be very welcome! I am particularly thankful to the youtube recordings of Super Dacob whose knowledge and enthusuasm is unsurpassed!
Pre-1989
Chanel produced their earliest sunglasses in the 1980's, and as far as I have been able to discover, these earliest sunglasses did not adopt a specific convention for marking. We have on sale a fabulous pair of white Chanel sunglasses from an impeccable source but with no markings on either of the inner arms, and simply a Chanel CC logo on the outside of each arm. Yet they are undoubtably genuine Chanel sunglasses as the quality and construction proves. Check them out here and see for yourself!
Markings for Chanel Boutique Sunglasses
Chanel first began to add signature coding to its sunglasses in the late 1980's. These sunglasses were sold only through Chanel boutiques and were produced in limited numbers. All the production was in Italy and the coding on the glasses was quite simple. On the right arm was the Chanel branding (see below), on the left arm was the Made in Italy stamp, plus a product code followed by a colour code. Below is a sample of each from an early pair of sunglasses.
As you can see the product code and colour code are both five digits long and the product code begins with a zero. The very earliest sunglasses in fact had shorter product and colour codes as shown below on an authentic pair of vintage sunglasses, with a product code of 0016 and a colour code of 80. 00 colour code denoted white, 10 denoted black for example. These shorter codes were used until the early 1990's when a greater range of colours and product designs was needed, and so the standard 5 digit codes were introduced and in fact these are still used today on Chanel boutique-exclusive sunglasses.
Please note that the lasering of serial number directly on to the lenses was not introduced until much later so the lack of an etched number does not make a pair of sunglasses fake, far from it!
In the meantime there has been a minor change to the right arm of the sunglasses. In the early 1990's the letters CE (to indicate compliance with EU regulations) were added to boutique purchased sunglasses as shown below.
Arrangement with Luxottica
In 1999 Chanel began a production arrangement with the Italian firm Luxottica to produce all its sunglasses. This was done to enable Chanel to expand the range and quantity of sunglasses it produced asit began to authorise non-Chanel outlets to sell its sunglasses. This included large department stores and opticians. However Chanel wished to retain the exclusivity of Chanel boutique bought sunglasses - these glasses were to be made in smaller quantities and be more innovative and experimental compared to the ones sold through authorised dealers. To further differentiate the boutique sunglasses a new coding and marking system was introduced for the non-boutique sunglasses. Thus it was immediately obvious which were the more expensive, more exclusive models by simply looking at the inside of the arms.
Markings for Non-Boutique Sunglasses
The new product code became four digits, plus an optional suffix to denote a special finish (eg -B meaning rhinestones). The colour code became more complex to cater for all the new colours and finishes being developed. It began with a small c followed by a full stop and 3 digits. eg c.501 was the colour code for black. Later, to allow for the profusion of finishes and multiple colours a suffix was added, being a / followed by 2 characters (numbers and or letters). eg /91 means quilting has been used as part of the finish. Again this coding system for non-boutique sunglasses is still in use today. The left arm contained the technical information about the glasses, with the product code and colour code first (as described above) followed by codes for arm length and bridge size. (see below)
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For non-boutique sunglasses the right arm contained the Chanel trademark name plus the Made in Italy and CE marks as shown below.
With slight variations this continues to be the system for non-boutique sunglasses.
Lasering
In 2003 Chanel began to laser on to the side of the right lens of sunglasses, both boutique and non-boutique, the serial number of the glasses in an attempt to deter counterfeiters.
Later the word CHANEL was also lasered along the top of each lens.
Dating Chanel Boutique Sunglasses
Pre 1989 - no coding or serial numbers appear to have been used
Product code of less than 5 digits - late 1980's-early 1990's eg product code 0026 is from 1992
Five digit product code beginning with 0 - pre 2001.eg product code 05983 is from 1995
Product code in 10000 range - c 2000 with the production deal with Luxottica
Product code in 40000 range - 2009
Check out our Boutique exclusive sunglasses
We only stock Chanel boutique exclusive sunglasses from pre-2000 as we believe these are the most desirable - better designs and much more exclusive. If you would like to see our range of sunglasses please click vintage Chanel sunglasses.
]]>He had been a protege of Christian Dior, hired as his assistant in 1957, and by the end of the fifties he was designing most of Dior's costume jewellery. He was Dior's designated successor as head designer at Dior, which he unexpectedly became at the tender age of 21 with Dior's early and unexpected death in 1957. His first collection for Dior as head designer was hailed a triumph. He was conscripted into military service in 1960 but the stress led him to being admitted to hospital with a nervous breakdown, and his condition was made worse by his being sacked by Dior. His treatment included electro shock therapy and Saint Laurent blamed this period in hospital for his later problems with drugs and mental health issues.
After a period of recuperation he established his own fashion house in 1961with the help of his then partner Pierre Berge who provided the young designer with the financing that enabled him to be independent. He quickly became one of the most influential designers in Paris and in the 1960's and 1970's he was famed for introducing daring innovations such as the safari suit, Le smoking (tuxedo) and the trouser suit, both in 1966, thigh high boots, see-through blouses and clothes with ethnic influences such as the Russian peasant blouse in his Ballet Russes collection of 1976. These design influences are so ubiquitous now that it is difficult to imagine the profound impact not to say shock that Saint Laurent's now iconic designs had at the time. Women's fashion would never be the same!
In 1966 he was the first coutourier to introduce a ready to wear collection - Rive Gauche - which was sensationally popular. While his day clothes had a rather masculine aesthetic, his evening wear seemed to incorporate a touch of fantasy.
Jewellery
He introduced jewellery to his couture collections and runway shows from their inception, his first collection in 1962 featuring some notable jet pieces. Jewellery and accessories have continued to be an essential element of the Yves Saint Laurent look.
YSL jet necklace 1962
He used the services of some of the greatest jewellery designers around, including Goossens and Schemama. One of his most memorable collections was 'Africa' in 1967, incorporating Massai inspired necklaces and bracelets with beads and pearls which complemented the amazing clothes perfectly.
He was the first to incorporate styles from tribal cultures into haute couture and jewellery, and in this he profoundly influenced a number of later designers.
He exhibited an exotic, exuberant, extravagant and colourful style in his jewellery, as contrasted with the studied classicism of Chanel, and was prepared to use modern and natural materials and revolutionary styles. He used shells, leather, amber (winter 91/92), natural stones, rock crystal, wood/stone combinations, bakelite and feathers.
He also produced some wonderfully rich pieces - heavy gold plated necklaces and matching bracelets, some in a crumpled gold metal style.
We cannot talk about the jewellery of Saint Laurent without highlighting the role of his muse and confidante of over 30 years, Loulou de La Falaise. She joined the fashion house in 1972 and soon became responsible for Accessories, which included jewellery. She wrote that her relationship with Saint Laurent was based on 'the many tastes that we share, for ethnic jewellery, paste, and the hyper-extravagance of glass jewellery'. Her jewellery design was colourful, often with a larger than life extravagance and she was always striving to produce some surprising twist or innovation to each season's look, and YSL seems to have enjoyed such surprises - he loved innovation and creativity. Goldfish earrings appeared in the summer of 1996, cut-out metal rams and birds appeared in 1993 winter collection. She loved to use materials from nature such as wood, shells and semiprecious stones. To view our collection of Yves Saint Laurent jewellery and identify the pieces with the unmistakable stamp of Loulou genius, including some of the pieces illustrated on this page, please click here for amazing Yves Saint Laurent jewellery from our site
The Saint Laurent couture house closed in 2002 with Yves Saint Laurent's retirement. He had already relinquished design responsibility at the Rive Gauche label in 1998. The strain of producing two collections a year for the couture market were proving too much for Saint Laurent. The designer Tom Ford took over. Yves Saint Laurent died from cancer in Paris 6 years later.
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She was born in Rome in 1890 into a famous and cultured family which lived in a Renaissance Palazzo. In the 1920's, after a failed marriage, she was drawn to Paris where most of the leading lights in the artistic world had gathered, and she was able to indulge her passion for the arts and fashion in this cultural maelstrom. She became friends with a number of artists, particularly those in the avant garde including Dali, Cocteau and Man Ray.
She began by designing clothing and was soon seen as a rival to Coco Chanel. However, while Chanel's aesthetic was elegant and based on classic styles, Schiaparelli's designs were quirky, unconventional and experimental, influenced by the artistic milieu she inhabited. She even persuaded her artistic friends to produce designs for her, bringing the sense of the absurd to the world of haute couture, an important and lasting contribution. Famous pieces include the hat that resembles a shoe, her trompe l'oeuil sweaters with which she began her career and Jean Cocteau's famous eye brooch, complete with a pearl teardrop. During this time Schiaparelli introduced the shocking pink colour to her repertoire, her antidote to the predominance of the ubiquitous black of the period, and which became her trademark and was used in clothes, jewellery and even perfume.
During the war she decamped to New York and established connections she would later use in her jewellery business. Returning to Paris in 1945 the couture business was soon up and running again, but without the excesses of the pre war years. During this time she employed two famous assistants, Pierre Cardin and Humbert de Givenchy. But her couture business did not flourish and she closed it in 1954 and returned once more to New York, this time to concentrate on her jewellery.
She had begun designing jewellery in the 1930's when her designs were produced or influenced by her Surrealist friends. There was the brooch in the shape of an eye, lobster pins, lip-shaped brooches with pearls for teeth, earrings in the shape of telephones - they were audacious often whimsical but also reflected the philosophy of the Surrealists. Her famous 1938 Circus Collection included clowns, bears, acrobats and horses. Her famous Lobster Dress, using a drawing by Salvador Dali, was worn by Wallace Simpson during a photo session by Cecil Beaton just before Simpson married the Duke of Windsor.
By the 1940's Schiaparelli was beginning to establish her own, less outlandish style in her jewellery design. She was still flamboyant and loved bright colours but her pieces began to reflect her love of natural forms and her ability to shapes, textures and colours to wonderful effect. She used glass stones, crystals and cabochons in an array of shapes and colours never seen before. She used moon rocks, aurora borealis stones, pearls dyed to match the stones, irridescent glass seashells. Many of her productions were sets - necklace, bracelet, brooch and earrings - all with the same core element that was then repeated throughout.
The Famous Lobster Dress | View this Bracelet in Our Store |
The 1930's Schiaparelli pieces were not signed, and are very difficult to find, but by the late 1940's most pieces were being signed. Initially this was in block lower case letters, then in the late 1940's and 1950's it became a script signature. This continued until Schiaparelli ceased to produce jewellery in the late 1950's. Schiaparelli later however sold the rights to her name and jewellery under the Schiaparelli label continues to be produced. The signature is different however, being all capital letters. So beware!
Modern Schiaparelli Signature
All Capital Letters |
1940/1950 Signature Script |
The 1930's pieces are very rare and priced accordingly, but there are plenty of opportunities to buy 1940's and 1950's pieces and own your own piece of history.
To see a selection of Schiaparelli's jewellery please follow this link schiaparelli]]>The chiefest and chicest wearers of vintage Chanel jewellery are almost certainly Beyonce and Rihanna - they wear big, bold and beautiful pieces but mix it with some classy classics too. Then there is Miley Cytus, who completely subverts most pieces she selects by wearing them unconventionally or repeatedly. Lady Gaga too is a subversive, and her creativity knows no bounds!
So what can the stylist-less amateur learn from these icons?
Big and bold seems to be part of the equation. Pieces need to be seen easily and convey an instant message - this is a rare and expensive piece that not just anyone has access to! Earrings are a particular favourite, given the desire by photographers to capture headshots and closeups wherever possible. Both Beyonce and Rihanna have worn the famous Chanel Cage earrings a number of times, as well as the large leather weave hoops with pearls. And Beyonce's large black vintage Chanel globes are real attention-seekers! You can see more details on our website for leather weave earrings and cage earrings.
It is a similar story with necklaces. Rihanna has worn the long quilted chain necklace with the crystal CC pendant, as well as multistrand Chanel pearl necklaces in homage to Coco Chanel but very much 21st century!. In our main picture Rihanna is wearing a large heraldic pendant necklace, teamed with a white tee and backwards baseball hat to create a totally modern vibe. Check out the heraldic necklace here. Beyonce has worn a large round pendant with edged with beading, and in the picture above she is wearing not one but two vintage Chanel long necklaces, the whole ensemble including the casual scarf make her look incredibly glam yet effortless.
Another message seems to be that creativity is paramount. Miley Cyrus wore the famous vintage Chanel cupid charm bracelet as an anklet. Why not? She also loves her vintage Chanel crystal choker with CC crystal dangle and wears it frequently. And wearing a pair of vintage Chanel No 5 perfume bottle earrings alongside her multiple piercings? Perfect!
Lady Gaga continues to astound with her outfits and changes of look, but she frequently uses vintage Chanel pieces to provide some kind of contrast, as if acknowledging that she may be wild but her knows that vintage Chanel will always link her to a great tradition of style and glamour. In the pictures below she wears a Chanel choker with round pendant as a headband, and uses a lovely vintage Chanel loupe necklace as relief against a thoroughly modern outfit. The contrast works amazingly!
And just to show you can wear vintage Chanel to great effect whatever your age, just look at Chris Jenner who knows what makes her look up-to-date, chic and stylish always! Check out her fabulous large earrings here
Many of the pieces here can be found on the veryvintage.com website. Why not check it out now and indulge your creativity!
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