Belle Époque (1890 – 1914)
Victor Mayer completed his art training in Historicism. However, from the end of the 1890s a completely new style emerged to influence the bourgeois and intellectual avantgarde the Belle Époque. Victor Mayer absorbed the new inspiration of Art Nouveau like fresh air, interpreting it in wonderful designs for his collections. With his technical know-how and craftsmanship he developed his own finely-crafted specialist tools for his jewellery. The perfection that he invested in his artistry and craftsmanship paid off. By the turn of the century he had made a major name for himself with his opulent and precious enamel collections in particular, the radiance and artistry of which was by all means comparable to that at the court of the Russian czar. The business grew.
From the early days onwards, Victor Mayer travelled in person to customers throughout Europe. This enabled him to gain first-hand knowledge of their wishes and suggestions for improvement, which he in turn incorporated and realised. As a consequence, he developed an increasingly fine feel for the zeitgeist and forthcoming shifts in style.
Baden-Baden, the “summer capital of Europe” and hometown of his wife, was a particularly important centre of inspiration for him. Victor Mayer also found delighted customers in leading metropolises such as Berlin, Paris, London, St. Petersburg, Vienna, Warsaw and even Cairo, as well as in the sophisticated Swiss spa resorts such as Davos, St. Moritz and around Lake Geneva.
Victor Mayer trained his three sons to be as versatile in craftsmanship and intellect as he himself was. His oldest son, Victor Junior, he sent to Paris, London and Madrid. The twins Oscar and Julius successfully attended the Grand Ducal School of Arts and Crafts. Daughters Marie, Else and Erna were also raised to be confident, independent women, with an excellent education.