Gianfranco FERRE Brooch Black Shell Crystal New, Never worn Pin 1980s
About the Item
- Creator:
- Metal:Gilt Metal
- Stone:Crystal
- Stone Cut:Brilliant Cut
- Place of Origin:Italy
- Period:1980-1989
- Date of Manufacture:Circa 80s
- Condition:
- Seller Location:Wallkill, NY
- Reference Number:
Gianfranco Ferré
Remembered fondly with a nod to his architecture education as the “Frank Lloyd Wright of Italian Fashion” and the “Architect of Fashion,” Milanese designer Gianfranco Ferré spent a lifetime creating handbags, dresses, jackets and other garments and accessories that were defined by meticulous tailoring and crisp geometry. Designing the iconic Lady Dior handbag after being named artistic director at Dior during the late 1980s is only one of Ferré’s impressive achievements in the fashion industry.
Ferré was born in Legnano and was raised by his mother and two aunts. He studied architecture at Milan Polytechnic but had a love for fashion, and made belts and other items for female friends in his classes. He graduated in 1969.
Ferré’s accessories caught the eye of Rosy Biffi, who operated boutiques in Milan with her sister, Adele. He was encouraged by Biffi to create clothing, and soon began creating jewelry and accessories for Christiane Bailly and Walter Albini. The latter is an unsung hero of 20th-century fashion, while Bailly was part of a small group of prominent young stylistes who helped build a sterling reputation for French ready-to-wear fashion during the 1960s. Ferré’s work was photographed by Italian Vogue, and he secured commissions from the likes of Karl Lagerfeld and Elio Fiorucci.
Ferré appreciated other cultures and drew inspiration from his travels abroad. His most influential trip — a years-long stint in India — saw him bringing bright colors and patterns to his evening dresses and day dresses. While there he created a collection for the Genoa-based San Giorgio Impermeabili. Ferrè designed for brands such as Les Grenouilles and Baila, and met with Italian businessman and clothing manufacturer Franco Mattioli, who would become an important collaborator.
In 1978, Ferré and Mattioli became equal business partners in establishing Ferré’s own label, for which he designed women’s ready-to-wear and menswear collections in Milan. In 1983, he was named the first professor of fashion at the Domus Academy.
While teaching, Ferré won the Occhio d’Oro — Italy’s award for best fashion designer — six times. In 1986, he introduced his first women’s fragrance, his first couture and fur collections, and a new line called Studio 00l. A few years later, Bernard Arnault, owner of Christian Dior, appointed him artistic director.
It was unexpected for an Italian to be given the job at Dior — one of fashion’s most coveted roles — as that position traditionally went to French designers. There, as Marc Bohan’s successor, Ferré created luxurious and striking gowns that drew on his architecture studies in their sculptural forms while celebrating the long history of the legendary house. He revisited the nipped-waist silhouettes of Dior’s postwar years, and his work dazzled onlookers and exuded femininity. Ferré won the Dé d'Or prize in 1989 for his first collection at the label.
In the early 1990s, Ferré designed the Lady Dior handbag (prior to its 1995 debut, it was called the Chouchou). The boxy top-handled accessory soared to immense popularity after French first lady Bernadette Chirac gave a version in black leather to Diana, Princess of Wales. Each bag, which was eventually named for the Princess, is made from 130 pieces of leather and worked on by seven Dior craftsmen who spend at least eight hours perfecting it.
On 1stDibs, find a collection of vintage Gianfranco Ferré clothing, accessories and handbags and purses.
- ShippingRetrieving quote...Ships From: Wallkill, NY
- Return PolicyThis item cannot be returned.
- Art Nouveau Sterling Silver Portrait Brooch Pin Pendant 1920s of a womanLocated in Wallkill, NYStunning early 1910-1920s Sterling silver Pin Pendant. Large in scale and makes a statement. Large bale on the back to accommodate a large chain if you like. Measuring 2.32 inches wi...Category
Vintage 1910s Art Nouveau Necklace Enhancers
MaterialsSterling Silver
- Ciner Brooch Sea Shell Gold tone New, Never Worn from 1980sBy CinerLocated in Wallkill, NYCiner sea Shell Brooch. Large oversized Gold Gilt Sea shell Pin. Measures 2" wide x 4.75" top to bottom. This is certainly a statement piece! This is out of a massive collection o...Category
Vintage 1980s American Brooches
MaterialsGilt Metal
- Philippe Ferrandis Brooch Floral Gold Gilt New Never Worn 1990sBy Philippe FerrandisLocated in Wallkill, NYStunning Philippe Ferrandis Brooch made in France Never worn! New Old Stock. Large Floral Brooch. Measuring 4.40 inches x 2.20 inches wide ...Category
1990s French Brooches
MaterialsGold, Gilt Metal
- Dominique Aurientis Made France Lizard Gilt Gold Pin Brooch, Never worn 1980sLocated in Wallkill, NYDominique Aurientis Gold Gilt Lizard Brooch. It Measures 3.70 in x 1.50 in. This French jewelry designer has a vast international customer base and is known throughout the world for ...Category
Vintage 1980s French Brooches
MaterialsGilt Metal
- 18K Gold Ruby Hummingbird Pin / Brooch EnameledLocated in Wallkill, NYDelicate hummingbird with spectacular enamel work on the Body and the head. Look at those Ruby Eyes. Measures 1.63"top to bottom x .60" at its widest. Hummingbird motif has been wi...Category
Vintage 1940s Italian Brooches
Materials18k Gold, Enamel
- Ciner Swarovski Crystal Sea Shell Brooch Pin Never Worn -1980sBy CinerLocated in Wallkill, NYMulti-Colored Swarovski Crystals set in this massive Ciner Brooch. Measuring 2.89 inches or 73.54 mm wide x 2.27 inches or 57.77 mm top to bottom. We have more Ciner items on our sto...Category
Vintage 1980s American Brooches
MaterialsCrystal, Gilt Metal
- Cartier New York GIA Certified 11.24 Carat Old Mine Cushion Diamond BroochBy CartierLocated in Miami, FLMagnificent Cartier Art Deco Platinum and Diamond Brooch featuring a matching pair of important Old Mine Cut Diamonds weighing 5.60 carats and 5.64 carats. Both accompanied by a GIA report stating that they are H color VS1 and H color VS2 clarity. This brooch comes with an Expertise letter from IAJA (international Antique Jewelers...Category
Vintage 1930s American Art Deco Brooches
MaterialsDiamond, Platinum
- Carved Coral Buddha Pendant in 18k Gold Set with Diamonds, Emeralds and RubiesLocated in Honolulu, HIMAGNIFICENT large vintage Buddha pendant brooch in 18K yellow gold. This gorgeous pendant features a stunning Buddha carved in natural coral set...Category
Late 20th Century Unknown Pendant Necklaces
MaterialsCoral, Diamond, Emerald, Ruby, 18k Gold
- Line Vautrin "La Manif" Gilt Bronze BroochBy Line VautrinLocated in New York, NYGilt brooch by Line Vautrin (1913-1997), circa 1945-46. The design is known as ...Category
Vintage 1950s French Artisan Brooches
MaterialsBronze, Gilt Metal, Gold Plate, Brass
- Vintage Ruby Onyx and Diamond Classic Car BroochLocated in London, GBHere we have a superb vintage brooch. The piece has been crafted from 18ct yellow gold into the shape of a classic car from the 1930s. Automobiles of the 1930s exhibited many notable...Category
Vintage 1930s Brooches
MaterialsDiamond, Onyx, Ruby, Gold, Yellow Gold, Enamel
- Marcus & Co. Sapphire and Diamond Bow Brooch, American, circa 1935Located in London, GBSapphire and diamond bow brooch by Marcus & Co, American, circa 1935. A yellow gold and platinum bow form brooch set with one central row of twenty eig...Category
Vintage 1930s American Art Deco Brooches
MaterialsDiamond, Sapphire, Platinum
- John Brogden Shell Cameo Brooch and Earrings, English, circa 1870By John BrogdenLocated in London, GBAntique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...Category
Antique 1870s English Victorian Brooches
MaterialsYellow Gold