Archive for the ‘jewellery design shop’ tag

Open a French jewelry design history

Recently, a famous French jewelry brand Chaumet appeared in Shanghai, portman plaza opened its first store. The names of napoleon closely connected with the French royal jeweller has 200 years history, in order to make known as the crown jewels Chaumet senior representatives of the French top class gem with pride, and the craft’s Derier), kadeya zunjue (Cartier (advanced), raise the family jewels of all the French are important birthplace of adornment creed emotional appeal.

Chaumet at different periods of the museum collections, those significant changes in style, open a delicate France jewelry history. While in fashion, Chaumet between hub with afore-mentioned a few big brands, and advanced customization dress, firmly cemented Paris as the European and world three centuries of fashion centre.

To the ART DECO style from empire

The 1780s, young jewelry and horological production artisans, Mali, nieto etienne just created a jewelry in Paris, the predecessor of the Chaumet workshop. Because in making jewelry aspect, nieto talent in the mansion of 1802 napoleon was appointed to the royalty jeweller, his wonderful artical excelling nature “crown” is in this period. Josephine 1804 crowned queen napoleon, nieto gunsmith made famous for its branches of laurel crown after. It was later after many generic, a connoisseur’s favor.

Napoleon regime collapsed, Europe remains more empire to flaunt their country, and status. The royal aristocrats of noble jewelry demand, but not after a new design change — in Nitot successors Jean Baptiste – fossin, under the leadership of the Chaumet after with the jewelry design style, and turn away from imperialist prevailing in the thick classical colour, instead, is concise line fruity, foiling GongBao, green treasure, diamond, as precious gems. Enamel, After using the leaves, flowers, butterflies, tendrils of rice, design topic, show the nature of ideology.

During the same period in southern France, New Orleans Derier zunjue (the) family began the silver and the gold inlaid jewellery, gradually to the society, the French society upper, maharajahs luxuries. In 1837, founder of wo3-based Louise Derier (1807-1874) in Paris Grands Boulevards and jewelry inlaid JinYinQi began the outlets. Due to the unique technique of family tradition and Louise Derier serious work, make Wendy jenn-air family deeply society.

Originated in the 1860s kadeya Cartier (front) than two later, but also strong. By the early 20th century, from Egypt to depend Cartier, Persian, Russia and east Ballets russes ballet (the) some design inspiration and style into more geometrical design and abstract design. In 1906, they began to rich color and some new materials, such as onyx, coral etc. Use to design, and formed a new artistic style. This kind of style is held in Paris in 1925, the international modern decoration and craft Art exhibition, known as “adornment Art Deco (Art).” From the famous kadeya and lead time of contemporary art.

Chaumet crown and elegant in the 1930s

The beginning of the 20th century, Chaumet jewelry is not only, also be the royal spoil the socialite gentleman necessary accessories. This period of Chaumet tiara popular, they mostly adopts the most popular platinum, Joe seems to be very fine, if not to crown jewel light show. In addition, it also further processing technology, gemstone cutting refining process flawless. Design, Chaumet attempt in nature, Japanese sakura ripping artistic inspiration also appeared in product design.

The jeweler in big kadeya war was at the top, but it is in the first world war ii and cocoa, under the double blow of summerly silence for 10 years. Then, cocoa, xianaier skill promoting “female boy” agitation, 1922 novel < > boy in women were described, the girl wear short hair, clothing, diet, men is the period of portraiture. This image let colorful traditional French style horsedrawn jewelry. In silence and not too long. The new change brewing design is important in 1924 Cartier depend for friends Cocteau famous poet Jean design of three gold ring, tricyclic kadeya surrounded by mutual friendship (platinum symbol together, loyalty (golden) and love (rose gold).

Then time into the 1930s, elegant style. This is typical of the 1930s, hats, with dress blouse, chest decoration, elegant skirt doublet and straight body, gloves and handbags — JiaKuiLin actress, drew buck was regarded as the most elegant in half a century, the female images in Paris. In the 1930s, using heavy beauty fashion jewelry Co., LTD, match with bare back in fashion design and special style, to build elegant aesthetic feeling.

This is a pursuit of elegant clothes and jewelry accessories in! People have tired of the boys in the imitation of 20 to pursue more affected, with the flavor of women. At this age, clothing accessories, handbags, become an unprecedented purse, cosmetic bag is the focus of fashion. Jewelry nature is more outstanding, gem brings to become adornment emphasis, but the design makes noble of summerly gem stones, no longer important modelled on adornment also took place.

“Less is more” naturalism and head again

In the 1950s, elegance and pop art started to influence the world. The world war ii years of experience in silence, fashion design in the 1950s and recovery, appeared A refreshing new look (new appearance) : long a-line doublet, fashion, DIOR) to master DIOR (the style and elegance fainthearted called “gentle dictator”. In the clothing and accessories for the design of light shine brightly, the artificial material, metal and plastic products. In the 1960s, is a reverse culture, the flower is the most main adornment, adopts the most is the shape of the exaggerated daisies. But in the past few jewelry using coconut tree brown and flax, beads and glass beads in fashion agitation of important position.

And after 20 years. Fashion into “expansion” period, this phenomenon is yuppie culture — the yuppie incomes and lifestyle needs to show off, yuppie attire is showing the expansion of the inevitable. The traditional gold jewellery by Italian K gold, silver, copper strong impact, aluminum, stainless steel etc were adopted gem stylist. People used to pay special attention to the value of material that the higher the value, the heavier weight of the precious jewelry, but at this generation, criterion more advertent jewelry design style, the connotation and characteristics.

Then, once popular in architectural art of “less is more” principle is used to modern jewelry design. The concise fluent line, the whole structure as the main design language. This time also conspicuous, and natural vigorous vitality: beautiful leaf, interesting shells, full of vigor and vitality sunflower, wonderful zebra grain… Have emerged in jewelry design. Example Chaumet present, such as the latest “live, if you love me, I” series, seiko is chiselled in fine carving vivid images of the spider web, and once again, the designer to communicate jewelry design theme of nature.

Classic Designs Fashion Jewelry by Eastar

jewellery design shop

Eastar has supplied the demanding markets of Europe, North America, Australia and the Middle East for four years. You can source accessories to target jewellery findings in different segments of your markets.

Eastar Ltd. is committed to sourcing both classic designs and the latest trends of fashion jewellery around the world. They supply a huge selection of the latest designs that meet the demanding price and quality requirements of the world leading retailers to make prouds jewellery . You can finds butterfly jewelry design in their collections.

Here some Eastar classic design fashion jewellery photos and pictures for you as inspiration and ideas

jewellery design shop

Classic Designs Fashion Jewelry Eastar – Leather chain style

jewellery design shop

Classic Designs Fashion Jewelry Eastar – silver Lobster clasp

jewellery design shop

Classic Designs Fashion Jewelry Eastar – wooden metal beads

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical content”

Love Jade jade jewelry shop in the operator high-end art and jewelry of the membership nature of public space. Is located in Beijing’s most bustling between the CBD and the embassy district, the unique geographical location and characteristics of jade itself, it not only aesthetic but also has an international classical Chinese style, reflecting the “new” meaning.

The whole space designed with a white running through them. In the visual, to create a different sense of the past, the color white is different from other colors, it brings a sense of space extends more directly than any other pure colors.

jewellery design shop

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure 1)

jewellery design shop

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure 2)

In this building surface 450 square meters of space ZhangYi, stylist is chosen to decorate the effect of wrong layer, using different level’s shop on the difference of the space partition, and also makes whole space more trenchant level, three-dimensional sex is stronger.

The so-called jewelry is valuable goods itself, also has the meaning of “beauty”, because the sparkling, gorgeous, which had been respected. So, when the shop in the design of owner and designers, and lasted for a long time chosen brunet department or light color fastens, owner and designer’s advice. But eventually the whole space through which to show the collocation and theme, stylist to insist to use light color department stores, as the fundamental key, design also is better, more suitable for Oriental international. Enlightened landlord respect designers professional advice, thus gained an unexpected special effect.

jewellery design shop

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure 3)

jewellery design shop

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure 4)

ZhangYi chooses white mass-tone white in the world because of the east, mean spirit, space and thinking. As long as he Oriental feel mysterious and rational, colour, so any colour ornament in white, as the traditional water-ink paintings – strong light colour ink in large margins. Because white is empty, like have infinite and outspread space, but is a black background, an item in the black color is white, but will is floating in the air, and have move feeling. Like the cloud floating in the sky blue, very light, but have indeed lets a person feel to it, so that the design is very impressive.

In detail, the butterfly orchids and freehand brushwork ink from inside to outside, such as the white orchid pattern: contracted nearby, clear, but the proper use of unity, orchid, whole is tie-in, both with the butterfly, but not mutually exclusive design can make the space added a few minutes of downy, the average gem itself to the natural material, much less a few primitive charm, how much artificial painstakingly beauty.

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure 6)

In the space, the device, a large number of paper-cut butterfly butterfly leg, the deformation of the furniture is saturated with Oriental symbolic and flavor. Large area of paper-cut hung from above the butterfly, lets a person as if place oneself in fantasy wonderland of fairy tale world. Paper-cut material not only snatched jewelry ornaments, instead of the lens that these naturally hard items, more show its value of the cove value. Plus the environmental protection of material, the paper present situation in the financial crisis, low-key aesthetic feeling of love, to win mass is fully staffed design.

At the same time, the store’s design and the use of a large number of Western Europe, for example: elements of restoring ancient ways of diamond in the 1930s classic scale, and with metope panels ARTDECO style sofa and furniture. Inside the east with the west design elements, color or restore ancient ways are the perfect design, although each phase shop is different cultural background, but in deduce the same world. In addition, using the material in the highlights of painting, fur, natural marble, light suede cloth, showing the new concept of costly temperament, sublimation of the original concept of luxury tivoli audio.

Beijing Ai Jade Jewelry Shop design: Chinese-style “classical connotation” (Figure

Jewelry shop interior space is also a manifestation of the Western understanding of the East, the same place in which the jade is also kept the non-disclosure of the Oriental temperament and spirit. Representatives of the Stone Age, Oriental diamonds. At the same time jade color, brightness, temperature and space integrated, cross-echoes, making the entire space due to the presence of a Smart jade charm. People can not help but daydream, as if the visual exposure to thousands of years ago the one-dimensional, but the body is stuck in the East and West blend of the spiritual world, just as engaged in a space-time communication.

Relevant jewelry knowledge

Jewellery doesn’t have to be treasure to be treasured. Liz Forsyth meets four young designers who make collectable pieces out of unpromising beginnings …

From INTELLIGENT LIFE Magazine, Winter 2009

The jeweller who best mixed the precious with the mundane was himself a bit of a mash-up. Andrew Grima, who died in 2007 aged 86, was born in Italy, raised in Britain, and spent the latter part of his career in Switzerland. From the late 1950s on, and with no professional training, he pioneered just about everything that is now regarded as modern in jewellery: texturing gold, not buffing it smooth; jamming huge, uncut gems into wildly theatrical settings; and in particular treating common-or-garden materials as if they were superstars, displaying tourmalines as extravagantly as D-flawless diamonds, and polishing wood as lovingly as platinum.

Grima had an artist’s desire to explore the possibilities of all solid matter, however apparently pedestrian, and it’s no accident that three of the four young jewellers featured here have spent time at art school. All are determined to extend the boundaries of what jewellery can and should be made of. Old watch mechanisms? Yes. Walrus teeth? No problem. They have a democratic disregard for the old divisions of precious, semi-precious and base, mixing and matching materials as a sculptor might. So while buying such pieces as investment is something of a punt—a mammoth-tusk ring may not be so reliably a girl’s best friend as a diamond—they are beautiful. And that’s worth putting your money on.

BIBI VAN DER VELDEN
When she was a child, Bibi van der Velden’s Dutch parents took her to live in a “magical house”. A Victorian pile in rural Surrey, it had its own ghost (a little girl in a pink dress), a tunnel that led underground to a nearby church and, most excitingly for a child whose imagination was fired by treasures, a “box of artefacts: documents going back to the 1500s, goblets, ivory pipes, shards of pottery, a single, faded velvet shoe”.

Bibi (right) is 29 now, a sculptor and goldsmith with a no-nonsense manner who lives in the sensible heart of the Netherlands; but the gothic romance of that box and its contents still animate her work. In her “wearable art” collection, she interlaces slightly macabre objects found in flea markets—tiny, porcelain doll’s hands, a cuff of spidery lace, cameo buttons peachy with age—with rock crystals, teeth, baroque pearls and shell to create neckpieces and cuffs that are both delicate, and delicately threatening.

More recently, those ivory pipes seem to have taken hold. For the past year, she’s been carving jewellery from single pieces of fossilised mammoth tusk, reveal­ed by the melting Siberian permafrost and preserved with a special wax sourced from the British Museum. Though cold-blooded reptiles dominate the designs—tiny snakes hatch from egg-shaped pendants, dragons are studded with warty tsavorites—the milky warmth of the mam­moth ivory keeps the overall effect strangely tender, and make for pieces that look just as well worn by men as women. Or ghosts.

From top (lead picture): tusk and tsavorite earrings, £2,985; pearl and mother-of-pearl “tooth” necklace, £1,345; tusk and tsavorite ring, £1,095.

HEMMERLE
The Hemmerle family are used to the pretty and the glittery: according to Christian (right)—at 29, their youngest member—in the 19th century they tended to Bavaria’s crown jewels, and for many years after retailed high-end diamond jewellery from their Munich shop. Then, in the late 1990s, Stefan Hemmerle, Christian’s father, had an epiphany. A client asked him to design some pieces for his wife, who, somewhat forbiddingly, “didn’t like jewellery”. The result—a torque of thick black iron, set at the ends with two huge, mismatched diamonds—broke all the rules and set the family firm on an entirely new course. “It was like a door opening,” Christian says, his voice whispery with excitement. “All these ideas flooded through.”

The four Hemmerles—father, mother Sylveli, Christian and, latterly, his tiny-boned, decorative Egyptian wife, Yasmin—have spent the years since riding that flood. Though these days Christian clearly leads the way, they design as a team, producing about 400 unique pieces a year, studding bases of wood or oxidised metal with sweetie-like stones in arty, back-to-front colours: black jade, amber moonstones, lime-green garnets. There’s a tension in their work between an almost Wagnerian heroic formality and a more eastern lushness that I suspect comes from Yasmin: one minute they might set a large, cut aquamarine of an Aryan blue into an iron bangle of fierce single-mindedness, the next twist hundreds of tiny, polished carnelian beads into a bejewelled rope finished with polished ends of thuja wood.

In pictures, these pieces can appear a little remote; with prices averaging from €5,000-40,000 that’s perhaps not surprising. Yet in the (stony, woody) flesh they have warmth and a surprisingly tactile appeal. You want to stroke them, weigh them in your palm, put them on, and not take them off.

Christian is delighted to hear it. The Hemmerle family’s work may have been considered intellectually stimulating enough to be exhibited at the notoriously discerning Neue Sammlung, Munich’s museum of design, but Christian just wants you to wear it. “Our jewellery is meant to be on the body,” he smiles, as polished as a pair of his own coral cuff­links. “Then it can grow and develop. If a customer says to me I want to buy a piece to wear once and then put it in a safe, I will tell them to give it back and go away.”

From top: copper, white gold and tourmaline earrings; coral, copper and pink gold bangles; white gold ring with copper, spinel and sapphires.

LUCY HUTCHINGS
“I’ve always been very three-dimensional,” says Lucy Hutchings, a lively, clear-headed 28-year-old (right). “I grew up in the Suffolk countryside and was always fiddling about creating things out of natural materials I’d find in the garden.” She went on to join the wood, metals, ceramics and plastics course at Brighton university, “because I was passionate about working with materials”. For her degree show, for which she earned a first, she mixed feathers, fur and butterfly wings—and the feathers have stuck. Literally: for her first two collections, sold in London by Liberty and the East End boutique Start, Hutchings glues the quill ends of iridescent feathers one by one onto wooden balls “in the same pattern they grow on the bird”, then wraps them tightly in a fine silk tulle. These peacocky beads are then trapped in metal cage-like structures and attached to transparent rubber tubing or suspended from ribbons; the net prevents the feathery texture becoming the issue, and instead allows the shifting colours to take centre stage, like petrol on the surface of a puddle.

Like all the jewellers here, Hutchings seems to get as much pleasure and excitement from gathering her materials as from the designing. While the Hemmerles go misty-eyed about the “emotional” joy of finding stones that “speak”, Lucy admits to spending months filling “tray after tray with things from all over the place: fabric stores, bead shops, markets. Then I start playing.”

Her best work is supersized—her big-bead and geometric “breastplate” necklaces may cost upwards of £400, but they have a confidence and presence missing from her smaller-scale, less expensive rings and pendants. Nonetheless, she’s determined to offer pieces at all prices; at least for now. When I asked her about the future, she admitted that she’d love to work with diamonds. “But finding one big enough might be a problem.”

From top: glass and crystal earrings, £135; shell pearl and gold-plate ring, £85; feathered bead, rubber and gold-plate necklace, £490.

JESSICA MCCORMACK
Of the four jewellers here, Jessica McCormack (right) a slim and frankly beautiful 30-year-old New Zealander—probably edges closest to the traditional. Her work always includes diamonds somewhere along the line; her rings won’t take anybody’s eye out if you gesture too wildly at a social event; and she calls her necklaces “necklaces”, not neckpieces, breastplates or capes. Yet for all its wearability, her work has a gritty edge, gently poking fun at the pretension of haute joaillerie while still indulging man’s (and particularly woman’s) jackdaw love of all things sparkly and expensive.

Like both van der Velden and Hutchings, McCormack is a compulsive collector of stuff—she sells her jewellery from a by-appointment-only “salon”, a room of wonders in east London throbbing with alternative treasures she’s found, all of which are for sale. She also came to designing by an unusual route; after studying art history, she started her career as an intern in the Victorian jewellery department of Sotheby’s in London. Fascinated by the clarity and purity of the gemstones, but put off by their fusty, fussy settings, she started sketching drawings of diamond jewellery that, she says, “younger people could wear”.

She wins the youth vote several ways. One is urban references: a ring of rectangular diamonds stacked like the New York skyline, or a pair of orb-and-spike earrings that echo the shape of London’s Telecom Tower while remaining bewitchingly feminine. Another is to combine the wink of white diamonds with the where-there’s-muck pragmatism of brass and old watch parts. She may set a single stone in a cogwheel and mount it on a leather strap for a transgender take on the bracelet. Or she inserts what she calls “hidden” diamonds into the ends of Victorian pocketwatch-winders, hanging them on delicate chains to make pendants that look particularly effective worn in multiples, dog-tag style, with jeans and a plain shirt. The result is cool, rock ’n’ roll—and very collectable.

From top: diamond, yellow gold and feather earrings, £15,000; multi-key pendant, silver, brass and round diamond, £1,500; gold gilt chain, £550; round pocket-watch key pendant, silver, brass and heart-shaped diamond, £1,750; square antique pocket-watch key, silver, brass with round diamond, £400.

30 Essential Jewellery Designers: Christine Lang-Blatny of Blush Designs Jewelry

We’re kicking of our second “Essential” series and wanted to focus on something that might be particularly useful for Valentine’s Day – jewellery! In our 30 Essential Jewellery Designers series we are featuring Vancouver’s very best independent jewellery designers – as recommended and nominated by you, our VancouverMom.ca readers.

Our first jewellery designer on the list is Christine Lang-Blatny of Blush Designs Jewelry. A stay-at-home mom of two young children, Christine recently found a passion in creating unique, original jewelry and finds that she’s in her element when she’s just finished playing with her kids and then relaxes by working on my creations.

Why did you get into jewellery design?

I have loved wearing jewellery all my life. I even had, and still do have, big multi-drawer units to store all my personal sets in.  After having a friend show me the basics to making a bracelet, I knew that moment I found my passion!

Tell us a bit about your company.

I started up Blush Designs Jewelry in February 2009 when I realized that all my friends loved my designs and that there is a market out there for handmade unique jewelry!  I picked “blush” because it was short and sweet and I knew everyone will be “blushing with all the compliments they receive from wearing my pieces.”

How would you characterize your style?

Casual and contemporary unique jewellery.  I have simple pieces, elegant and femine with crystals and pearls, right up to very trendy, big and chunky.  I love to use different media like coconut, woods, glass, metals and semi-precious stones, giving those pieces alot of texture and uniqueness by mixing them up.

Who are your clients?

My clients are anyone who loves unique jewelry.  I have a children’s line, for both girls and boys, and some very cool necklaces for men.  Of course the majority of my collection is for women of all ages.

What do you think moms should know about your jewellery?

Well, I am a mom too, and I know how busy our everydays can be.  So I double check every piece that I create to ensure that all the clasps and hardware are working properly and that they will hold up against all the “running around” that we do!  I also price my pieces very reasonably making them affordable for everyone.  Moms deserve to feel and look good, and with my pieces they get both!

Where can people buy your jewellery?

I have a website at where I have around 40 of my pieces on there.  However, I have over 200 pieces including necklaces, bracelets and earrings and the mens and childrens line.  So the best place to see them all is when I’m doing a show.  But I know that isn’t always possible so I will do “Home Parties” where I bring my jewellery to your house and you and your friends can shop in comfort.

I also exclusively make a collection for Raspberry Kids, a great online lifestyle store.  And if your up in Summerland, The Summerland Waterfront Resort has a collection there too!

Anything else to add?

All of my designs are one-of-a-kind so you will always be wearing an original.  Everytime I design a necklace, another idea pops in my head with different colours and materials and I can’t wait until I get the time to create it.