Once upon a time, luxurious necklaces, earrings and brooches were the charms of only the elite – those with fatter wallets. But that all changed with the advent of jewellery.
The new way of looking at jewellery allowed millions of women to shine just like movie stars, even if the diamonds in their ears were only glass.
“Before jewellery, women either wore jewellery or no jewellery at all,” says jewellery historian Carol Woolton.
Jewellery as a revolution
The era of change began not only because of fashion, but also because of historical circumstances.
World War II restricted access to precious materials, and women took an active role in society.
The result? Jewellery that looked like real jewellery but was accessible to everyone.
Although the idea originated in Europe, the real heyday of jewellery but we call it high-low fashion, it was a challenge to society then,” says Woolton.
Faux pearls and bright coloured beads were the perfect complement to her “little black dress” and sophisticated style.
“For Chanel, jewellery was not a symbol of wealth, not a ‘cheque around the neck’ as she used to say, but the final touch of a look that makes a woman truly beautiful,” adds Woolton.
Elsa Schiaparelli’s jewellery madness
An equally important figure in the history of designer jewellery was Elsa Schiaparelli.
Along with artists such as Salvador Dali, she created jewellery from whatever was at hand: shells, pinecones, feathers, even roller skates.
For her, there was no material that couldn’t be used,” Woolton emphasises.
Photo by William Curtis n Inc/ Alamy
A particular fan of Haskell was Joan Crawford, who wore her jewellery both on screen and in everyday life – and even became the face of the brand’s advertising campaigns.
Haskell jewellery can be seen in the classic films Ziegfeld Madness (1945) and The Phantom of the Opera (1943), as well as in the cult TV series I Love Lucy.
Hollywood fame only served to reinforce the brand’s popularity with the general public.
Miriam Haskell became the first jewellery designer whose jewellery was presented in the windows of Saks Fifth Avenue and Harvey Nichols – fashion houses where only haute couture used to “live”.
Eugene Joseph: jewellery for the big screen
Eugene Joseph noticed that props in the cinema were not always accurate, and offered his services. This is how he became Hollywood’s chief jeweller.
A film classic: “A Star Is Born” (1937),
Photo courtesy of Taschen.
And his archive became a gold mine – he rented out jewellery to studios and then produced copies for the general public.
Trifari Bird of Paradise
For fashion historian Carol Woolton, the name Trifari is a symbol of true innovation in the world of jewellery.
It’s something exceptional,” she told the BBC. – Trifari jewellery is incredibly beautiful and yet completely different.
The brand’s success is largely due to the talent of chief designer Alfred Philippe, a Parisian by birth who previously worked with Cartier jewellers.
It was this school that shaped his brand approach – combining jewellery craftsmanship with dramatic theatrical effect. The result is intricate, highly detailed pieces such as the famous bird of paradise brooch from the “Fruit Salad” collection, which has become a copycat favourite.
Hattie Carnegie: from Vienna to Fifth Avenue.
Hattie Carnegie adapted Parisian fashion for American women.
Her jewellery was inspired by African and Oriental art, and her clients included the Duchess of Windsor and Hollywood virgins.
From the 1930s, Carnegie began creating jewellery – bright, bold and far from traditional restraint.
Her style was inspired by African art, which was at the height of fashion in Paris at the time.
Carnegie’s jewellery often looked like stylised animals and sea creatures, whimsical and colourful, made of Bakelite, semi-precious stones and studded with rhinestones.
Photo Courtesy of Taschen
Hattie’s bracelets and brooches have quickly become favourites of Hollywood and aristocratic stars.
Her dressmakers include Talal Josh, Benkett, Fonti, Shiremaret and others.
Photo Courtes of Taschen
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Author photo, courtesy of Taschen
Lane’s success was as much about the design as it was about himself.
He was sweet, witty – and fit perfectly into the aforementioned circle. Women adored him,” recalls Woolton.
He wasn’t shy about peeking at what they were wearing and… copying. Sometimes one-to-one. And he did it with a smile.
His autobiography is called – Fabulous Fakes – a vivid declaration of his love for the art of imitation.
An exemplary example is a necklace, an exact replica of one that once belonged to Jacqueline Kennedy.
Today, Lane’s jewellery still inspires celebrities, with Lady Gaga, Katy Perry and other fans of spectacular fashion.
William de Lillo: between the catwalk and the bohemian.
Belgian William de Lillo understood luxury. His creations were bold shapes with fringe and stones: coral, lapis lazuli, jade large beads, rhodium-plated brass, fringe, tassels, jewellery for women and men.
His line even included gold collars and chains that were suggested to be worn instead of ties.
Photo courtesy of Taschen
He created jewellery for catwalks and society, with duchesses, baronesses and Elizabeth Taylor herself commissioning his pieces.
His jewellery became part of a legacy where decoration became art and eccentricity became the new code of elegance.
Wendy Hell: jewellery with character (and a dash of madness)
Wendy Hell’s path in the world of designer jewellery was not the same as her predecessors.
In the early 1970s, she was writing songs but was looking for another way to express herself – and make money.
Thus was born her first idea – a wrist – bracelet adorned with anything that could be pinned on: from his jewellery. films, including Roger Rabbit.
It was a real revolution: children’s fantasy in a high-fashion format.
The 1980s were the perfect time for Wendy Gell. Her bold, loud, theatrical style was in demand more than ever.
Her jewellery was worn by the most eccentric stars of the era: Elizabeth Taylor, Cher, Liberace, Elton John, Prince – all of whom collected her unique crafts.