A GILT METAL, SIMULATED TURQUOISE AND RHINESTONE CLIP, CHANEL

FOREWORD "The letter from France was marked Prioritaire, the return address was the workshop of Robert Goossens, the date was December 22, 1997. Robert Goossens, whom I had met the previous year in Paris, was asking me to work with him on the presentation and sale of his private collection of jewelry he had designed for Chanel, Balenciaga, Dior and Gres. I was thrilled. In my experience as an author of books on costume jewelry and as a jewelry historian, I was familiar with Goossens' designs for Chanel, but here was the possibility to see and be involved with the sale of twenty year's work of a master artisan. The following summer, I went to Paris to the apartment of M. Goossens to view the collection. Boxes and boxes of treasures were there for me to see. Gorgeous, striking, elegant jewelry-there was a marvelous profusion. I was awed by the artistry, the proficiency, and the creativity that radiated from the jewels. I knew immediately that I wanted the world to have the opportunity to enjoy this collection as I had. Never before has a couture jewelry collection of this magnitude been offered for sale. The jewels have been designed and created for some of the world's finest couturiers, by an artisan who has bestowed each piece with his unique touch of genius." Harrice Simons Miller Specialist, Couture Jewelry September, 2000 Robert Goossens Mademoiselle Chanel was not concerned if a jewel or an object was made in precious metal and gemstones or other materials. She was sensitive to the composition, the shape and the application without regard for the intrinsic value. The mixture of styles was important to her, which is why since 1955, a collection of jewelry was created that blended various motifs using gemstones, molten glass, simulated pearls, rhinestones and diamonds. She was amused by the melange; only the result was important to her. When I first began to collaborate with Mademoiselle, it was difficult for me to work within the framework of her kind of thinking, I did not dare." Robert Goossens, a child of the Marais, spent his adolesensce learning goldsmithing from the masters. By the time he reached adulthood, he had achieved excellent skills and was able to apply those skills creatively, unable to restrict himself to just one discipline. As with all great artists, he had a questioning spirit, always on the move, never content to rest on his achievements. Through the support and sponsorship of a marquise, he was introduced to society and eventually obtained commissions from haute couturiers, notably Dior, where he met Yves Saint Laurent, for whom he designs today. He then became the jeweler and artisan for Cristobal Balenciaga. In 1954 he began to design for the House of Chanel. Once he met Mademoiselle Chanel, they forged an inspired alliance, sharing a vision of jewelry not as a symbol of riches, but as objects of beauty. Together they found inspiration in the arts of various civilizations-Byzantine, Scythian, Persian, Egyptian, Etruscan and Roman. They combined styles and materials that would astound, never being afraid to use a mix of real and faux. Goossens' pride in his workmanship assured that his designs were unique objects of beauty, whatever the materials. Apprenticeships: 1942 Bauer for Cartier and Melerio At rue Oberkampf, ParisGold cases, lighters 1942-47 Various Ateliers Clasps for purses, jewelry 1945-47 LeFebvre for Cartier At rue Turbigo, Paris Gold cases, pens, lighters Artisan in Residence: 1948-51 Freres Dupuis for Cartier, Pasque, Chaumet, Melerio, Offental, Bry, Maquet, Boivin, Sterle At rue Chabanais, Paris 1948-54 Max Boinet for Dior, Balmain, Fath, Balenciaga, Rochas, Desses, Castillo, Schiaparelli At rue de Surene, Paris 1948-60 Janvier Berchot for La Monnaie et la Medaille 1947-65 Aubert Foundry (atelier of M. Goossens' father) for Puiforcat, Tetard, Francois Hugo, Hermes, Christofle, Ravinet Denfert, Giacometti 1953-57 DeGorce for Chanel, Balenciaga Creation of a barbaric Byzantine design, which became a style that Mlle. Chanel approved and launched to become the Goossens/Chanel style 1954-74 1957-70 Balenciaga 1957-74 Chanel In 1973, M. Goossens chose Jean Gonthier at Gorbi to develop the distribution and fabrication for Chanel, under his control and with the agreement of Messieurs Lehman, Helleu, Le Gres and Foss. 1972-75 Gres Since 1975 Dior, Yves Saint Laurent, Guerlain Beginning in 1975, I produced a line of models to develop the Yves Saint Laurent style that would be recognized as uniquely his. Up to that time, his style was too diverse due to having so many suppliers. From 1980 to 1984, Yves Saint Laurent was licenced to Monet in the United States, under my supervision. In 1984 I chose la Maison Pichard at Saumur, on the advice of the Freres Flamand, to fabricate the Yves Saint Laurent Collection for Cartier. I organized this society of professionals in fashion jewelry by taking in trainees in my workshop, free of charge. The production involved only the monogram, the medallion and gift objects. Currently, we are in collaboration with M. Saint Laurent and his couture studio, as well as with Dior perfumes in conjunction with Mme. Wittgenstein. We produce models and manufactured items for Scherrer, Guerlain, Kenzo, Givenchy, Mugler, Rykiel, Dior, Yves Saint Laurent, Galliano, Gaultier, LaCroix, Loewe and Morgan. "Until 1960, I worked alone. At first I hired two, then four people, then seven, all who were trained entirely in my workshop, up until 1974. From 1984 to 1994, my staff grew to forty-eight employees without any outside financial support. In 1978, after an apprenticeship with Jean Papy, my son Patrick became the principal factor in my workshop. Currently he directs all of our activities. I am working to advance the development of 'Robert Goossens Orfevre' and the boutique on avenue George V in Paris, as an individualistic style that reflects me personally."

Details

A GILT METAL, SIMULATED TURQUOISE AND RHINESTONE CLIP, CHANEL
Designed as a gilt metal wire modified cruciform with simulated turquoise and rhinestone accents, 3.25 in.
Signed Chanel

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