Vin­tage cos­tume jew­elry show high­lights the beauty of faux

New Athens venue ApArt host­ing an ex­hi­bi­tion and sale of pieces de­vel­oped for French fash­ion houses, to­day, to­mor­row and Sun­day

Kathimerini English - - Focus - Kathimerini English Edi­tion

Rather than im­i­tat­ing its valu­able “real” sib­lings, cre­ative faux jew­elry has long taken a bold stylis­tic di­rec­tion of its own. As Coco Chanel, a de­signer whose adorn­ment vi­sion in­cluded both real and fake pieces, once put it: “Cos­tume jew­elry is not made to give women an aura of wealth, but to make them beau­ti­ful.”

Vin­tage cos­tume jew­elry pieces by Parisian cou­ture houses will be on dis­play (as well as for sale) at a new venue in cen­tral Athens, ApArt, from to­day to Sun­day. “Bi­joux de Haute Cou­ture” is or­ga­nized by Anna Kon­toleon and cu­rated by Iris Kri­tikou.

The ex­hi­bi­tion, which in­cludes pieces for land­mark Paris la­bels such as Chanel, Yves Saint Lau­rent, Dior, Lan­vin, Scher­rer and Spain’s Loewe, is based on the pri­vate col­lec­tion of French gallery owner, lux­ury cos­tume jew­elry and per­fume spe­cial­ist So­raya Bou­vier Feder.

For 20 years Bou­vier Feder man­aged her Via An­tica gallery on the Rive Gauche, where an eclec­tic clien­tele scouted for vin­tage pieces, while in

gold-plated, with Swarovski pave topaz rhine­stones (left). Right: A gold-plated bronze bracelet by Jean Louis Scher­rer. Th­ese and other vin­tage cos­tume jew­elry pieces by Parisian cou­ture houses will be on dis­play (as well as for sale) at a new venue in cen­tral Athens, ApArt, from to­day to Sun­day. 2012 she col­lab­o­rated with Sofia Cop­pola in the lat­ter’s pe­riod com­e­dy­drama “Marie An­toinette.” In 2012, she es­tab­lished an on­line store where the of­fer­ings in­clude vin­tage Her­mes and Is­abel Canovas, as well as younger brands such as Les Paruri­ers.

Be­hind the pieces go­ing on dis­play at ApArt lies the mas­ter­ful touch of Robert Goossens, a French jeweler and metal crafts­man who spe­cial­ized in cos­tume jew­elry. In­spired by the Byzan­tine, Re­nais­sance and other pe­ri­ods, Goossens be­gan col­lab­o­rat­ing with Coco Chanel in the 1950s, com­ing up with pieces fea­tur­ing baroque pearls, corals and turquoise mounted on sil­ver- and gold-plated bronze. Fol­low­ing Made­moi­selle’s death in 1971, he con­tin­ued work­ing for the fash­ion pow­er­house and her suc­ces­sor, Karl Lager­feld, through the 1980s and 90s. In 1974, Goossens met Yves Saint Lau­rent and soon found him­self cre­at­ing bi­joux cou­ture for the house, where the themes in­cluded Africa and crosses. While the Goossens ate­liers worked with high-end fash­ion com­pa­nies such as Chris­tian Dior, Bal­main, Madame Gres, Rochas, Ba­len­ci­aga and Schi­a­par­elli, they also pro­duced in­tri­cate pieces for the Goossens brand, still sold at the name­sake bou­tique on Av­enue Ge­orges V on the Rive Droite.

The Goossens com­pany was bought by Chanel in 2005, as an ad­di­tion to its art pro­fes­sions divi­sion, which also in­cludes the em­broi­dery house of Lesage and feather spe­cial­ists Le­marie.

Goossens died ear­lier this year at the age of 88.

Mean­while, the Athens event has trig­gered an ex­change of tal­ent, with a group of Greek cos­tume jew­elry de­sign­ers set to show their work in Paris, in as­so­ci­a­tion with Bou­vier Feder, in De­cem­ber.

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