Goldsmithing became Carl Faberge's primary interest, and he hired Michael Perchin, a Russian goldsmith to assist him in his experiments with gold and enamel. Through careful examination of works of art, the two learned and attempted to replicate techniques of earlier artisans. Their efforts were so successful that even the czar could not distinguish between the original piece and Faberge's copy of a snuff box in his own collection. Soon after, Fabergé became the Supplier to the Imperial Court.

So imaginatively conceived and opulently executed, Faberge's work elevates jewelry to a decorative art unequaled since the Renaissance. At the 1900 World Exhibition in Paris, the Imperial eggs are shown in public for the first time. They astound the jury, which showers him with honors, and Faberge's fame spreads throughout Europe. The novelty of combining artistic excellence with functional value — and a touch of whimsy — so captures the imagination of the aristocracy that the Fabergé workshops are flooded with commissions, transforming an ordinary goldsmith shop into the famous "House of Fabergé". But though aristocrats, barons of industry, kings and queens alike all cross his threshold seeking gifts, Faberge's first duty is always to the Czar.

Year by year, Faberge's Imperial Easter eggs reach new heights of invention and extravagance, Géza von Habsburg, "They are the absolute summit of craftsmanship. They are unbelievably made. They were the sort of apogee of what Fabergé was able to do, and he lavished everything he could on them". Ultimately, these eggs would become painful reminders of the tragic events to come.

Carl Faberge designed the first egg in 1884 for a special easter gift from Russian Tsar Alexander III to his wife Maria. With this gift, he created 2 new arts: enameling on gold and silver, and stone cutting. The technique of Fabergé style enameling is very delicate and involves hand application of translucent colored enamel and then burning the enamel at high temperatures. Each Fabergé egg and Fabergé style pendant is made of sterling silver with 18k gold overlay and enameled by hand with multilayer enamel and decorated with gems. The reign of Nicholas II (1894-1917) is associated with the zenith of the Russian decorative arts. It was the epoch of Fabergé and Neo-Russian style. Until the beginning of the 18th century, Russian art developed in isolation of the rest of Europe. By the late 19th century, however, its repertoire had absorbed Western European tastes and craftsmanship practices, infusing them into a thousand year old Slavonic art tradition.

The Fabergé family originated in France, but the Protestant family fled after the Edict of Nantes was revoked in 1685. Eventually, some family members settled in Russia. Peter Carl Fabergé was born in 1846. His education and goldsmith apprenticeship were in Germany. After establishing himself independently in 1866, Carl continued to refine his skills. By age 24, Fabergé had inherited his father's jewelry workshop in St. Petersburg, Russia. For ten years as head of the business, Carl continued to produce goods similar to other jewelry makers. He also volunteered his time to the Hermitage, a treasury which stored all of the precious objects of the Russian czars, including gold artifacts and ancient treasures.

All of these pieces Carl helped catalog, appraise and repair. He reorganized the business with the help of his able brother Agathon and forever changed the face of jewelry and art. In 1882 Carl's younger brother Agathon, a trained jeweler full of ideas, appeared on the scene. The two made copies ancient Russian treasures and sold them. Eric Kollin, a Finnish craftsman, helped the Fabergé brothers make a number of pieces which they decided to feature at a fair in Moscow. Czar, Alexander III, and his wife, Czarina Maria were in attendance and made a purchase at the Fabergé exhibit. There, Carl Fabergé was presented with a gold medal honoring him as "...having opened a new era in jewelry art". Until that time, many felt the value of jewelry was intrinsic, based upon the precious metals and stones. Fabergé felt that the artistic creativity and fine craftsmanship of jewelry made it art that transcended bullion value.

During this period, there were two cultural capitals in Russia, namely St. Petersburg and Moscow. Objects produced in St. Petersburg (then the capital of the Russian Empire), were intended for the refined aristocracy and closely followed the styles of the 18th and early 19th century, frequently surpassing the quality of originals. Conversely, Moscow produced pieces in ancient Russo-Byzantine traditions, for the most part admired by the merchant class.