A Brief History of Chanel Jewellery

Chanel, a name synonymous with timeless elegance and sophistication, remains at the pinnacle of the fashion world over 100 years after its inception. While the brand is often celebrated for its revolutionary contributions to clothing and accessories, its jewellery collection holds a special place in the annals of fashion history. With the earliest pieces produced in the 1920s and production continuing today, Chanel jewellery remains sought-after by collectors around the world looking to inject some of the brand’s legendary style into their wardrobes.

A new way to wear jewellery 

Chanel jewellery, much like its creator Gabrielle “Coco” Chanel herself, defied conventions and changed the way that accessories are worn. One of her great contributions was to introduce fashion or costume jewellery to her clients, as contrasted with fine jewellery. The former is made from less costly materials – as an example, think of plated gold rather than solid gold, or imitation pearls rather than real.

Mixing high and low pieces is commonplace today, but when Chanel first introduced her line of costume jewellery it was considered a radical move. Only the very wealthy could afford fine jewellery, and while women from middle and lower income families could access mass-produced baubles, these “copies” were viewed as inferior, only worn by those who couldn’t afford the real thing.

Chanel herself was a charismatic figure, and despite her humble beginnings, had amassed quite a collection of fine jewellery gifted from various suitors. Chanel began mixing these pieces of fine jewellery with costume items, which served to elevate the minimalist fashion designs she created. In her words: “a woman should mix fake and real. The point of jewellery isn’t to make a woman look rich but to adorn her; not the same thing.” Through Chanel’s genius, costume jewellery had been elevated from something tacky to something fashionable.

Beginning in the 1920s, Chanel began working with jewellers to bring her visions into reality. Unlike the understated aesthetic of her clothing designs, Chanel costume jewellery was all about opulence. One of the most enduring images of Coco herself is of her dripping in ropes and ropes of faux pearls – this unrestrained layering approach was also applied to generous quantities of brooches and cuffs worn in interesting and playful combinations. Chanel herself explained, “costume jewellery isn’t made to provoke desire, just astonishment at most. It must remain an ornament and an amusement.”

Innovating in the 1930s

Chanel took inspiration from her wide circle of friends and artists. One of the most influential figures for her jewellery designs was Sicilian aristocrat and jet-setting playboy Duke Fulco di Verdura. Verdura worked for Chanel as a textile designer, but Chanel, recognizing his unique eye, promoted him to head designer of Chanel jewellery. The two shared an interest in Baroque shapes, and together would create the signature Maltese Cross which became synonymous with the house’s designs. The Maltese Cross line would become available around 1930 and was quickly championed by fashion editor Diana Vreeland. Chanel would use the Maltese Cross motif in a myriad of other applications, but the most notable was Verdura’s cuff designs, meant to replace the traditional shirt cuff. Their partnership ended in 1934 when Verdura moved to New York.

Another important figure in the development of Chanel jewellery was designer Suzanne Gripoix, who created an irregular glass pearl for Chanel, known as Gripoix Glass. While partners like Verdura would come and go over Chanel’s lifetime, the Gripoix studio was a constant in the production of Chanel jewellery over decades. Examples made by the House of Gripoix remain some of the most expensive and coveted of the early Chanel collections.

Coco Chanel’s first and only foray into fine jewellery making, the Bijoux de Diamants collection, arrived in 1932. Members of the collapsing diamond industry had commissioned Chanel to create a line of fine jewellery as an attempt to make the stones more appealing to consumers, but even Chanel’s inimitable designs made little impact. The jewellers of Paris also took offence that a mere “dressmaker” had been selected for this assignment, and attempted to block the sale of her designs. It would take another 60 years before the house of Chanel, well after Coco’s death in 1971, would create a fine jewellery line in 1993.

Post-War Style

In 1939, Chanel closed her Paris boutique. When she reopened in 1954 on Rue Cambon, each garment she designed was presented accessorised by costume jewellery. French jeweller Robert Goossens was hired to produce the collection. With experience in fine jewellery, Goossens had created pieces for Rochas, Balenciaga and Schiaparelli. He shared Chanel’s love of mixing faux and precious stones, and would continue designing for the house under Karl Lagerfeld. Goossens is renowned for diversifying Chanel’s core designs, reimagining some of her most enduring motifs including the signature double C design that remains the brand’s logo today, the Maltese Cross, and the camellia flower. Pieces made during Goossens’ tenure working with Chanel are some of the most sought-after by collectors.

From its earliest incarnations to the present day, Chanel jewellery is designed for visual impact, oversized statements and excess. Coco Chanel, her partners and successors intended for their creations to offset the clean and understated lines of Chanel clothing, creating visual impact through the contrast of Modernism with antiquity.

Waddington’s is pleased to offer jewellery by Chanel in our September 2024 auction of Silver & Costume Jewellery and Luxury Accessories, including two brooches, earrings and a pair of CC dress clips.

ABOUT THE AUCTION:

An especially eclectic auction, look for silver jewellery by Tiffany, Jensen, Schluep, Yurman and Pineda alongside costume jewellery by Eisenberg, Chanel, Dior, Sherman, Lane and Robert. Luxury accessories are represented by a selection of scarves and over 75 ties by Hermes, as well as ties by Gucci, Liberty, Zegna and Turnbull & Asser. Other highlights include Dunhill lighters, a Louis Vuitton vanity case and purse, several Prada bags, and over 50 collectible pens including several Montblanc examples.

Held online, the auction begins to close September 19, 2024 at 2:00 pm ET.

Please contact us for more information.