Книги по дизайну ювелирных изделий

Recognized as one of the world’s foremost collections, Barbara Berger’s costume jewelry portfolio features many of what are considered the twentieth century’s most significant designs.

Fashion Jewelry: The Collection of Barbara Berger highlights over 200 beautiful and noteworthy examples from her more than 4,000 pieces. From legendary couturiers such as Chanel, Elsa Schiaparelli, and Valentino to contemporary designers including Daniel Von Weinberger, Iradj Moini, and Kenneth Jay Lane, this title presents the jewelry of over 60 designers, many of whom are among the industry’s most revered names. Published in conjunction with the Museum of Arts & Design’s Bedazzled exhibition, this book is the first definitive title on Barbara Berger’s costume jewelry anthology to date.

With original photography and an informative text written by leading expert Harrice Simons Miller, Fashion Jewelry: The Collection of Barbara Berger is the ultimate accessory for jewelry aficionados and fashionistas alike.

A privileged look at visionary jewelry designer Francesca Amfitheatrof’s unique approach to creating collections of high jewelry for Louis Vuitton.

Working in the heart of Paris, Francesca Amfitheatrof brings a new perspective to the ancient art of jewelry design, translating her love of fashion into the jewelry collections she creates for Louis Vuitton. She approaches each collection following a theme, as a storyteller would approach a novel, but written in the oldest materials on our planet—diamonds and gold.

This book is a fascinating look at four extraordinary jewelry collections, exploring the designer’s alchemical process from raw materials and inspiration to polished jewel. Journal-like in style, and featuring unique sketches, gouaches, collages, and personal photographs the book highlights how Amfitheatrof and Louis Vuitton have given the ancient craft of jewelry-making a modern approach. The book also reveals how Amfitheatrof’s personal journey, and her creativity, are perfectly matched with the pioneering and visionary spirit of Louis Vuitton, a house with its roots in luggage and travel. Amfitheatrof, working together with renowned art director Fabien Baron, has created a stunning and highly personal volume that beautifully reflects her singular artistry, within a unique and luxurious package that features a ribbon tie closure and vellum inserts.

About the Author:

Stefania Amfitheatrof is a New York-based multilingual luxury and branding specialist with a focus on creating compelling storytelling. She is currently working on her first novel.

Cate Blanchett is a two-time Academy Award-winning actress. She recently won a Golden Globe for Best Actress for her performance in Tár (2022).

Francesca Amfitheatrof is Artistic Director of Jewelry and Watches at Louis Vuitton — the first person to be given this role at the fashion house. Prior to her appointment at Louis Vuitton she was the first ever female design director of Tiffany & Co. from 2014 to 2018, and created jewelry for brands including Marni, Fendi, and Chanel.

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Gijs Bakker (b. 1942), Dutch jewellery and product designer, has figured prominently in the front rank of international auteur jewellery for forty years. He has been setting trends in both form and design since the 1960s. Unsurprisingly, what is known as the ‘Dutch soft style’ has been an international hit. Collaborating with his former wife, Emmy van Leersum, he advocated the status of designer jewellery as autonomous works of art.

The present publication, which includes a detailed description of all his pieces, represents a complete annotated catalogue of Gijs Bakker’s œuvre. In this sumptuously illustrated book, the historian Ida van Zijl takes us through Gijs Bakker’s work, showing his importance for the development of jewellery worldwide.

The complete annotated catalogue of jewellery by the internationally renowned Dutch jewellery and product designer Gijs Bakker.

Creative jewelry design beyond luxury and pomp.

Contemporary jewelry has been vitalized by a recent burst of innovative concepts, materials, and designers. A Girl’s Best Friends is a compilation of the most creative pieces by outstanding jewelry designers from around the world.

The book features styles from glamorous to minimalistic, forms from geometric to organic, and materials from gold and silver to plastics and feathers. It includes work ranging from new interpretations of necklaces, rings, bracelets, earrings, and brooches to more experimental forms of body decoration.

More About This Book

Today, jewelry — whether glamorous, gothic, or minimalist — is en vogue. Jewelry goes back centuries and has been on the forefront of design many times throughout history. Now, thanks to a burst of innovative concepts, materials, and designers, a new age of contemporary jewelry has begun. A Girl’s Best Friends is an eclectic collection of work from around the world that documents this current development.

Today, jewelry exists in a wide spectrum of forms from traditional to modern, from geometric to organic. It is inspired by elements of folklore and the composition of collage. The materials used include gold, silver, and gemstones as well as plastics, porcelain, leather, wood, feathers, and hair. These are being used to create not only necklaces, rings, bracelets, earrings, and brooches, but also more experimental forms of decoration that expand the human body.

A Girl’s Best Friends features work by outstanding jewelry designers including Ted Noten, Saskia Diez, byAMT, and Kelsey Quan; fashion labels such as Bless; creatives working with cutting-edge technologies such as Nervous System; and a range of innovative designers from other disciplines.

In short, A Girl’s Best Friends is the most comprehensive showcase of the innovative jewelry being created today.

This is a reference guide to the equipment, materials and techniques that can be used when making jewellery. It is aimed at the beginner but it would also be suitable for the more experienced jeweller. It shows in step-by-step sequences how to accomplish various techniques. It also explains the pros and cons of different materials and finishes and how to achieve them.

A look through the sparkling history of Harry Winston, "King of Diamonds"

From the legacy of the Hope Diamond to "Diamonds are a Girl’s Best Friend", and from runways and red carpets to presidential inaugural balls, Harry Winston jewels are icons of international glamour. Harry Winston opened his doors in New York in 1932 and soon rose to the top of the international diamond industry. Winston revolutionized modern jewelry design by buying great collections of estate jewels and transforming precious stones into jewelry pieces that appealed to contemporary customers. This book showcases Winston’s most exquisite jewels and jewelry in captivating advertising campaigns, historic images, and celebrity photos, as well as showing the important stones with which the company has worked, including the Hope, Lesotho, and Vargas diamonds. Featuring archival and contemporary jewels and watches - displayed on beauties such as Elizabeth Taylor, Gwyneth Paltrow, Halle Berry and, of course, Marilyn Monroe - this book offers an incredible look at some of the most breathtaking jewel creations and timepieces in history.

About the Author:

Harry Winston is America’s premier diamond specialist. Founded by Harry Winston in 1932, the company is a favorite of royalty and celebrities, and its designs are frequently seen on red carpets all over the globe. Harry Winston has salons in international cosmopolitan locations, including New York, Los Angeles, London, and Hong Kong. André Leon Talley is a contributing editor to Vogue, where he writes the monthly column "Life with André."

The jewellery firm Süddeutsche Gold- und Haar-Bijouterie, founded in 1907 by Heinrich Henkel and Florentin Grosse, experienced its first successes with costume jewellery made of bronze, aluminium, wood, bakelite and galalite. Renamed Henkel & Grosse, the firm soon established its first business contacts to the US. In the early 1930s it began working with the fashion labels Lanvin and Schiaparelli in Paris as well as with Harrods in London and Saks in New York. The company was awarded the diplome d’honneur for their designs in 1937 at the “Exposition Internationale des Arts et Techniques dans la vie Moderne” in Paris. Since 1955 Henkel & Grosse worked together with Christian Dior and for fifty years held a license to produce and distribute Dior jewellery worldwide.

With regard to Henkel & Grosse’s own jewellery lines, the firm always maintained its independence, thereby setting their own creations apart from Dior jewellery. For example, the line Grosse Bijoux, which was expanded in the 1960s to include the collections Grosse Sterling und Grosse Gold – with fashion always dictating their design. The enterprise, led by four generations of the Grosse family, had at its zenith over 600 employees and a worldwide distribution. Dior and Grosse costume jewellery was designed in Pforzheim. Produced in Pforzheim and in the US, later also in Asia, it stood for modern design and technical innovation. In 2005 the family withdrew from the business and the firm became part of the Dior group.

The first comprehensive monograph on Henkel & Grosse with numerous illustrations of jewellery from Grosse and Dior. Its exciting history is portrayed against the backdrop of the fashion created by the great couture designers of the twentieth century.

Illustrations: 198 col

This lavishly illustrated book presents outstanding examples of one-of-a kind jewellery from the 1940s to the present drawn from the collection of the Museum of Arts & Design in New York. The 288 pages guide the reader through a fascinating diversity of materials, technique and approaches that make contemporary jewellery visually exciting and intellectually stimulating. No longer dependent on gold and gemstones, these creations demonstrate that commonplace aluminium, rubber, glass, paper, thumbtacks, and even salvaged gun triggers can be made into dazzling jewellery.

The international nature of today's jewellery is fully represented with established luminaries as well as emerging artists in the field from the United States, Europe, Asia and Australia including Gijs Bakker, Robert Ebendorf, Hermann Jünger, Sam Kramer, Otto Künzli, Linda MacNeil, Margaret DePatta, Bruno Martinazzi, Giò Pomodoro, Wendy Ramshaw, Art Smith, Kiff Slemmons, David Watkins, and Anna Maria Zanella.

The book contains a foreword by Holly Hotchner, Director of the Museum of Arts & Design; essay by Ursula Ilse-Neuman, Jewellery Curator of the Museum of Arts & Design, surveying major trends in contemporary jewellery over the past 75 years; and over 200 full-colour illustrations of works from the Museum's Permanent Collection.

Ursula Ilse-Neuman is Jewellery Curator at the Museum of Arts & Design, New York. She joined the Museum in 1992 and has curated numerous exhibitions in all media. Ms. Ilse-Neuman is the author of numerous publications and has juried many competitions and lectured widely both in the United States and abroad. She is currently a Ph.D. candidate at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture. She is a member of the Editorial Board of Directors of Metalsmith magazine.

Drawing is an essential part of any creative process and it remains the most efficient tool for communicating a concept or an image. This book features a varied selection of the work of leading jewellery designers, as revealed through their original illustrations and working drawings, plus colour photographs of the finished pieces

Jewellery sets off beauty and reveals wealth. Moreover, jewellery had a magical function in traditional societies because it attracted blessings and warded off evil. Women were given most of their jewellery when they married. They wore it until their children had grown up. Then it was kept until their daughters had need of its magical properties. So Oriental vernacular jewellery was handed down from generation to generation. If a piece was too worn, it was melted down and the silver used to recreate a piece of the same type. Thus the memories of millennia were preserved in jewellery of this kind.

It came to a break in the mid-20th century. In many parts of the Near East, the traditional silver jewellery began to be replaced by gold jewellery that was often industrially manufactured. The upshot was that much of what makes this collection so unusual has been irredeemably lost in the countries where the jewellery was once made. It is to the everlasting credit of Dr. Bir as a collector that these pieces have survived, albeit far from the lands where they were made, to attest to the infinite variety and beauty of Oriental craftsmanship. In this book, readers follow the jewellery on an imaginary journey: from Turkey and “oriental Europe” across the Mediterranean to north-western Africa and the Sahara to Ethiopia. From there the journey continues through Yemen via India and on to Thailand and the Roof of the World. Down the Indus Valley to Afghanistan. Back again through the mountains and across Central Asia on the Silk Road to the West. From Turkmenistan to the Caspian Sea and from there to the Caucasus. Through eastern Turkey, Syria and Palestine back to the Mediterranean. Born in Freiburg i. Breisgau in 1929, the collector Ümit Bir was the son of a Turkish physician and a native of Freiburg. He grew up in Izmir. After studying medicine in Istanbul, he trained as a specialist in Berlin and worked in Wolfsburg from 1958. His passion for collecting began in 1960 on a trip through north-east Africa. One hundred and eighty more trips throughout the Near East would follow.

The Dr. Bir Collection comprising more than 3,000 pieces of jewellery is on loan to the Museum für Völkerkunde Leipzig. It is one of the largest private collections of oriental jewellery in existence. A selection of pieces from it are published here for the first time.

This book rewrites the history of jewellery in the age of Victoria. The ‘age of Victoria’ is taken in its widest sense to encompass jewellery made throughout Europe and America, displayed at the great international exhibitions and distributed through foreign trade, illustrated publications and a burgeoning tourist industry. Throughout, links with other disciplines will provide both the specialist and the non- specialist with the information to understand how jewellery permeated all walks and conditions of life in the 19th century.

The focus of the book is on the attitudes of owners to their jewellery and the symbolic weight that it was expected to carry. Rather than concentrating on the major figures at the top end of the jewellery trade, it is oriented towards the social aspects of owning, wearing and displaying jewellery. For example, novelists used jewellery to add a moral or metaphorical dimension to a character, while jewels depicted in portraits often carried multiple messages which could be immediately decoded by the viewer. The achievements of science, the fascination with nature and the Victorian sense of humour are all embodied in jewellery. Topics discussed in depth include the importance of jewellery in the life of the Queen herself, jewellery and dress, the language of jewellery, the cult of novelty, the importance of nationalism in the revival of historical styles, and the contribution of archaeological discoveries. The volume is sumptuously illustrated with contemporary reportage, photographs and portraits as well as examples of jewellery from the British Museum and other collections.

She was a creature of contrasts: there was the Chanel of rococo mirrors and playful jewellery; but also the Chanel of the tailored suit, of the utmost restraint; of classicism à la française.
The jewellery that Chanel created presents one of the least-known aspects of her work: in complement to her ‘costume jewellery’, she invented jewellery that was unparalleled in luxury and refinement and unfettered in its imagination.

Using illustrations and documents, many of them previously unpublished, and based on archival research and interviews with Chanel’s colleagues and other witnesses of her life and career, this book presents her passion for fabulous jewels and improbable marvels.

Gabrielle Chanel was a creature of contrasts: there was Mademoiselle Chanel of the sumptuous baroque, of rococo mirrors and dazzling jewelry, a playful, unrestrained Coco; but there was also Gabrielle Chanel of the little black dress, of the severe cut, of rigour in black and white.

Out of this dialogue between ostentation and austerity, the fine jewelry that she created all her life was unparalleled in its insistence on luxury and refinement, drawing inspiration from tradition without ever being the slave of everyday formulas or market values.

Based on archival research and interviews with Chanel’s colleagues and witnesses to her life and career, this book is the first to set in relief her passion for fabulous jewels, for exceptional stones, for improbable marvels, that should be considered ‘with innocence, with naivety, like enjoying an apple tree in blossom along the road as we speed by in a car’.

The glamour and excitement of the world of haute jewellery is beautifully explored in Jewelry International.

About the Author

Tourbillon International has published six volumes of Grand Complications and is an expert in the field.