The pair from the front on a light stone: the two corollas enameled in dark green, with the peridot at the centre of each

Collection Fiore d'Inverno·Orecchini

Fiore d'Inverno Earrings in silver with peridot and green enamel, 13 mm corollas

Thirteen millimeters of corolla per ear, enameled green right up to the polished rim

€130,00 OA132perv

Drawn and built by hand at the bench, in Tosi.

Two silver corollas of thirteen millimeters, each hollowed from a single sheet and left wavy at the rim. Inside they are green: the enamel fills the whole cup, and under the glass the folds of the sheet read as circles turning around the center. The green stops short of the rim, where the silver stays polished and closes the flower with a line of light. In the middle, in a round setting, a faceted peridot of a pale green with yellow inside it: it is the only bright point in all the darkness. Behind, the back of the corolla is left raw, and the post comes out of it.

Five grams ten of 925 silver for the pair, and thirteen millimeters of corolla per ear: it is the small size of the flower, the one that stays against the ear instead of swinging. The two greens are not the same green — the enamel's is dark and closed, the peridot's is pale and lets the light through — and it is the distance between the two that you see from across the room. The peridot is the delicate part of the piece: it sits lower than the quartzes on the hardness scale, and the setting is closed by pressing a little at a time. Presentation box included.

The material

Weights and carats as the workshop declares them.

5,10 gramsSilver 925‰
Metals
Silver 925‰
Finish
Green enamel inside the corolla, polished rim
Dimensions
Flower diameter about 13 mm
Clasp
Post with butterfly back
Technique
All made by hand.

The stones

Peridot

At the center of each corolla

Cut
Round faceted
Color
Yellow-green
Note
Two natural stones. Carat weight not stated
In three-quarter view, with the left earring turned to the side: the post and the butterfly back behind the corolla can be seen
The back of the two flowers, left raw and irregular, with the posts and the butterfly backs fitted
Resting against branches of light wood: the wavy rim of the sheet and the line of polished silver that closes the outline
On the branches, tilted toward the lens: the enamel follows the folds of the cup in circles around the bezel
The two flowers side by side on the branch, shot from a distance, with the post of one projecting to the side
The two corollas overlapping in the foreground: the light green of the peridot against the dark green of the enamel

How it is made

The words of the trade, one by one, explained to those who do not know them.

Corolla from a single sheet
The corolla is not an assembly of petals: it is a single sheet, hollowed into a shallow cup and left irregular at the rim, with the folds running out from the center. The wavy rim is not corrected twice — silver once stretched does not come back — so the first fold is the one that stays. In the middle of the cup is the one point that has to stay flat: it is the seat of the stone, and if the cup has moved there the setting will not sit.
Enamel
Enamel is glass: ground to a powder, laid on the metal and taken to several hundred degrees until it melts and becomes one surface with the piece. Before the fire it is wet powder that a breath will move; afterwards it cannot be retouched, because correcting one point means putting all the color already fired back into the fire, and at every pass you risk a bubble, a cooling crack and the color turning. The families have names of their own and are told apart by how the metal holds the color: champlevé, when the color sits in recesses cut into the sheet; cloisonné, when it sits inside little walls of wire soldered to the ground; cold enamel, when instead of glass there is a resin that hardens without fire. They are different techniques, and they are not attributed by eye.
Peridot
Peridot is olivine, and its green does not come from a treatment: it is iron, in the crystal since it formed. That is why the color does not depend on how you turn it — it has no good axis and no bad one — and it stays that green with a yellow note in it that no other gem repeats exactly. The difficulty is in setting it: at between six and a half and seven on the hardness scale it is softer than the quartzes, it fears acids and sudden changes of temperature, and it almost always has inclusions that the heat of friction can open. It is polished wet and with frequent stops, and the setting is closed by pressing a little at a time: the force that settles a quartz is already too much for a peridot.
Post and butterfly fastening
The post passes through the lobe and a butterfly holds it at the back, two metal wings that grip the stem by themselves. It is the simplest fastening there is, and precisely for that reason it has to be done well: the post has to be soldered perpendicular to the body of the earring, because if it starts even slightly crooked the piece hangs askew on the lobe and there is no straightening it by wearing it. The butterfly, on the other hand, is the part that gets lost: it holds by friction, and friction drops off over the years until one day it no longer holds. You check it by pinching it lightly between two fingers, and when it has stopped offering resistance you change it — it costs little, and it costs a great deal less than the earring.

I don't look at what others are doing: I would rather create in my own style. That is what makes our jewelry recognizable.

Fabio Gori — Anna Gioielli, Tosi

Made for you

Every piece leaves the bench made to order: sizes and details are agreed before the work begins.

The goldsmith's workshop is also the place where made-to-measure jewellery is created and family pieces are restored: if you have an idea, or something you want brought back to how it was, that is where it starts.

Ask for a made-to-measure piece
Made by
Anna Gioielli

A goldsmith's workshop in Tosi, on the slopes of the Pratomagno: Anna opened it in 1988, her sons Fabio and Francesco carry it on. Piercing, repoussé, chasing and burin engraving — the Florentine school, with the workshop in full view of the shop.