In 1907, at the famous goldsmith town of Pforzheim Germany, Heinrich HENKEL and his brother-in-law Florentin GROSSE established “Süddeutsche Gold-und Harrbijouterie-Fabrik Heinrich Henkel und Co” (South-German Gold and Hair Jeweller) specialized in producing jewellery and watch chain made of woven and plaited hair. After World War I broke out in 1914, demand for Grossé’s modern and fashionable watch chain, which was woven with the long hair of loved ones, was prevalent among young people entering the battlefield. This jewellery made of hair was extremely popular, even beyond the borders of Germany, in Europe and as far away as India. In 1918, after the end of World War I, the era of liberation and social advancement among women began. The women took off the corset that ties the body and enjoy freedom and independence. Costume jewellery has become an important element to complete the new fashion. In tune with the times, Grossé introduced state-of-the-art modernist design, manufactures avant-garde costume jewellery that combined art and technology. This new design-driven costume jewellery received wide critical acclaim, drawing attention and interest from major houses, such as Lavin and Chanel. The stock market crash of 1929 and the ensuing global economic crisis put a sudden end to the modernism of the roaring twenties. Atmosphere in the world became a conservative. In the 1930s, trend of femininity returned, and designs were moving to softer curvaceous and figurative forms. In parallel, Grossé came up with a series of colourful flower jewellery that is symmetrical with a concise art deco. New technical innovations, such as the processing of synthetic lacquers, were implemented. These floral jewels drew the attention of Elsa SCHIAPARELLI, who was active as a representative designer in 1930, and Grossé produced a series of jewels for her, including a red flower necklaces and a fruit brooch. In 1937, at the Paris Exposition Universelle des Arts et Techniques dans la Vie Moderne, Grossé won the highest honour medal in both the technical and designing section of costume jewellery. Many Hollywood celebrities such as Marlene DIETRICH and Greta GARBO, who were great fashion icons of the time, big actresses of the silver screen, became familiar with this achievement, and became customers of Grosse. Especially DIETRICH bought all the stocks that were in New York in Grossé, became a big topic at the time. At the end of the thirties, when resources were becoming scarce due to the emerging of World War II, Grossé started to make new pieces from the materials and elements that were available such as balls, cylinders, hinges and tubes. Despite the inexpensive materials used, the processing did justice to the shapes and materials used so that the results were comparable with real jewellery. Christian DIOR, who breathed a life in New Look, advocated a total look up to not only clothes but also details, such as hats, shoes, bags, perfumes, jewellery and so on. When Grossé started selling jewellery in Dior boutique, the success was great, and Christian DIOR highly appreciated the quality of the work and concluded a partnership with Grossé in 1955 under his strong request. Over the next 50 years Grossé was responsible for the production of Christian Dior Bijoux and had the right to sell it and sent out numerous masterpieces to the world. Even in the history of Dior, such a long term license cooperation was unprecedented. Grossé continued to flourish regardless of the turbulence in politics, such as the Cold War, building of the Berlin Wall and the Vietnam War. Fashion transiting from Haute Couture to prêt-à-porter garments, from designed primarily for celebrities towards the mass market and an ever younger clientele. Grossé continued to create its own line without subjecting itself to the rapid changes in the world of fashion. In 2017, to celebrate its 110th anniversary, Grossé held a world exhibition tour in Pforzheim, Japan and Taiwan, showing its precious vintage jewelleries and were highly praised by the media.