Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
The dream of Buddha is a one of a kind necklace signed Stanley Hagler N.Y.C./Ian St. Gielar
1990s
Faux ivory with glass, entirely handmade
Stanley Hagler began designing and crafting jewelry in the 1950s. His hand-manipulated work comprised of simulated pearls and Swarovski rhinestones are desirable collectibles today, although he didn’t personally make every piece of jewelry that bears his name. He designed many other styles of jewelry as well, including Deco inspired pieces using glass and acrylic resin components in the 1960s. These are rarely found today.
His jewelry was marked Stanley Hagler with a cartouche similar to that of Miriam Haskell until the early 1980s when he moved to Florida. His brand reportedly changed to Stanley Hagler N.Y.C. at that time, and his workshop began marking his designs with that designation. Mark Mercy, who was hired by Hagler in 1979, made the move to Florida with him. Hagler hired Ian St. Gielar to work for him as a craftsman after the move. When he passed away in 1996, the two apprentices continued making jewelry under the Hagler name.
Ian St. Gielar himself worked with vintage beads and findings to create breathtaking jewelry, most of which could be classified as genuine works of art. He went to work for the famed jewelry designer Stanley Hagler in 1989 and helped turn around the Hagler look of muted pearl designs to one of colorful, intricate and elaborate designs. With St. Gielar own passing in 2007, he left behind a legacy of gorgeous jewelry designs, worn by stars such as Whoopi Goldberg, Morgan Fairchild, Melanie Griffith and others. His designs graced many fashion show runways and appeared in numerous fashion magazines, among them such illustrious titles as Elle, Vogue, Harpers and Shine. The Corning Museum of Glass includes St. Gielar designs in its collections.
About Vintage Costume Jewelry:
Costume jewelry– also known as Fashion Jewelry– was especially made popular in the mid-20th century. While their materials were less precious than real gold and diamonds, using glass stones, semi-precicious stones and lead and brass, many big fashion houses and designers produced highly complex pieces of jewelry that stand for craftmanship that today can only be found in so-called Haute Joaillerie. Most famously, Coco Chanel popularized the use of “faux jewelry”, bringing costume jewelry to life with gold and faux pearls. Chanel's designs drew from various historical styles, including Byzantine and Renaissance influences, often featuring crosses and intricate metalwork. Her collaboration with glassmakers, such as the Gripoix family (Maison Gripoix), introduced richly colored glass beads and simulated gemstones, which added depth to her creations without the high cost of traditional precious stones.
Elsa Schiaparelli– Chanel’s lifelong rival– brought surrealist influences into costume jewelry design, famously collaborating with Salvador Dalí and Jean Cocteau. She created the House of Schiaparelli in Paris in 1927, celebrating Surrealism and eccentric fashions. Her collections were famous for unconventional and artistic themes like the human body, insects, or trompe-l'œil, and for the use of bright colors like her "shocking pink". While Schiaparelli had to close her avant-garde business in the late 1950s and was forgotten for decades, her designs have recently been rediscovered and are celebrated for their bold design.
In many instances, high-end custome jewelry has achieved a "collectible" status and increased value over time. Today, there is a substantial secondary market for vintage fashion jewelry. The main collecting market is for 'signed pieces', which have the maker's mark, usually stamped on the reverse. Amongst the most sought after are Miriam Haskell, Sherman, Coro, Butler and Wilson, Crown Trifari, and Sphinx.
The term signed however is an invention that only reached European production in the late 1950s- when American buyers started to ask for authentification to distinguish high class designers from mass-produced pieces, while in Europe all costume jewelry had been issued by the fashion houses themselves and hence remained somewhat exclusive from the start.
The dream of Buddha is a one of a kind necklace signed Stanley Hagler N.Y.C./Ian St. Gielar
1990s
Faux ivory with glass, entirely handmade
Stanley Hagler began designing and crafting jewelry in the 1950s. His hand-manipulated work comprised of simulated pearls and Swarovski rhinestones are desirable collectibles today, although he didn’t personally make every piece of jewelry that bears his name. He designed many other styles of jewelry as well, including Deco inspired pieces using glass and acrylic resin components in the 1960s. These are rarely found today.
His jewelry was marked Stanley Hagler with a cartouche similar to that of Miriam Haskell until the early 1980s when he moved to Florida. His brand reportedly changed to Stanley Hagler N.Y.C. at that time, and his workshop began marking his designs with that designation. Mark Mercy, who was hired by Hagler in 1979, made the move to Florida with him. Hagler hired Ian St. Gielar to work for him as a craftsman after the move. When he passed away in 1996, the two apprentices continued making jewelry under the Hagler name.
Ian St. Gielar himself worked with vintage beads and findings to create breathtaking jewelry, most of which could be classified as genuine works of art. He went to work for the famed jewelry designer Stanley Hagler in 1989 and helped turn around the Hagler look of muted pearl designs to one of colorful, intricate and elaborate designs. With St. Gielar own passing in 2007, he left behind a legacy of gorgeous jewelry designs, worn by stars such as Whoopi Goldberg, Morgan Fairchild, Melanie Griffith and others. His designs graced many fashion show runways and appeared in numerous fashion magazines, among them such illustrious titles as Elle, Vogue, Harpers and Shine. The Corning Museum of Glass includes St. Gielar designs in its collections.
About Vintage Costume Jewelry:
Costume jewelry– also known as Fashion Jewelry– was especially made popular in the mid-20th century. While their materials were less precious than real gold and diamonds, using glass stones, semi-precicious stones and lead and brass, many big fashion houses and designers produced highly complex pieces of jewelry that stand for craftmanship that today can only be found in so-called Haute Joaillerie. Most famously, Coco Chanel popularized the use of “faux jewelry”, bringing costume jewelry to life with gold and faux pearls. Chanel's designs drew from various historical styles, including Byzantine and Renaissance influences, often featuring crosses and intricate metalwork. Her collaboration with glassmakers, such as the Gripoix family (Maison Gripoix), introduced richly colored glass beads and simulated gemstones, which added depth to her creations without the high cost of traditional precious stones.
Elsa Schiaparelli– Chanel’s lifelong rival– brought surrealist influences into costume jewelry design, famously collaborating with Salvador Dalí and Jean Cocteau. She created the House of Schiaparelli in Paris in 1927, celebrating Surrealism and eccentric fashions. Her collections were famous for unconventional and artistic themes like the human body, insects, or trompe-l'œil, and for the use of bright colors like her "shocking pink". While Schiaparelli had to close her avant-garde business in the late 1950s and was forgotten for decades, her designs have recently been rediscovered and are celebrated for their bold design.
In many instances, high-end custome jewelry has achieved a "collectible" status and increased value over time. Today, there is a substantial secondary market for vintage fashion jewelry. The main collecting market is for 'signed pieces', which have the maker's mark, usually stamped on the reverse. Amongst the most sought after are Miriam Haskell, Sherman, Coro, Butler and Wilson, Crown Trifari, and Sphinx.
The term signed however is an invention that only reached European production in the late 1950s- when American buyers started to ask for authentification to distinguish high class designers from mass-produced pieces, while in Europe all costume jewelry had been issued by the fashion houses themselves and hence remained somewhat exclusive from the start.
