Among her customers were people who no doubt could be called jewelry experts: Colette, consumed by her passion for unique and expensive jewelry, the Duchess of Windsor and her husband, ex-king Edward VIII, Frank Sinatra, Charlie Chaplin, Harry Cooper, Clark Gable. The aristocratic public was especially attracted by Belperon’s unusual way of making such a routine activity as order presentation similar in its length and procedure to that of an “haut couture” dress. She had long conversations with clients making sure that the piece will suit perfectly. She explained this habit of hers by saying that no self-respecting person will buy even a cheapest dress without first trying it on. Why not then treat jewelry purchasing with the same kind of thoroughness, considering that this is a lifetime purchase that will be succeed to the person’s heirs?

Belperon carried the habits acquired at a Paris jewelry salon “Rene Boivine” throughout her whole life. Her professional carrier was always connected with the family of an influential businessman Bernard Hertz. They started a joint business in 1933 ceasing the activities only for the time of France occupation by the nazi. In 1943 Hertz died in a concentration camp, and two years later his son Jean and Susanne created a new jewelry house “Hertz-Belperon”, dividing the responsibilities: Jean took care of business affairs, while Belperon was in charge of design. They remained partners for the next 30 years, until Susanne’s death.

Belperon was extremely proud of her creations, never making copies of her items. She deliberately refused to mark the authorship, saying that her work cannot be confused with anything else. This should be kept in mind by the collectors as the possibility of fakes is very high. Moreover, many jewelers in many countries have tried to imitate her style and copy the items. After her death a New York designer Landrigen, famous for his works by Falco de Verdura’s drafts, purchased 4500 drafts from Susanne’s archive. Now he is making jewelry using the unrealized ideas of Belperon, even occupying the same studio in France as once did Belperon – “Dard and Sons”. Unlike Belperon’s, his jewelry is stamped, which makes it impossible to confuse with the “original”.

"Dorogoi" magazine,
March 1999 (¹1)