Retro Modern Jewelry (1935 through 1940s)
Art Deco Jewelry (1920 – 1930s)
Art Deco is a decorative style that reached its peak between the two world wars. A unique combination of exoticism and modernity, it epitomized the glamour of the period and pervaded every aspect of life, from architecture, the decorative arts and fashion to the fine arts, film and photography. The term Art Deco is derived from the L'Exposition Internationale des Art Décoratifs et Industriels Modernes that was held in Paris in 1925, although the term was not coined until 1968 by the author Bevis Hillier.
The end of World War I, which had forever changed the social order in general and the role of women in society in particular, mandated the need for change. Women were taking a greater part in public life, fighting for the right to vote and engaging in careers. Science and technology were developing in leaps and bounds. The first decades of the 20th century saw the first mass-produced automobiles, the start of air travel, and the proliferation of mass communication via radio, motion pictures and magazines. The war and its aftermath pushed aside the romantic, idealistic and sentimentality of the Art Nouveau style, with its flowing lines, graceful forms and idealized images.
The seeds of the Art Deco style were sown by several events in the early 1900s. Chief among them was the first performance of Sergei Diaghilev’s Schéhérazade by the Ballets Russes in Paris in 1910. The intense vibrant colors and exoticism of the stage sets and costumes, which were in sharp contrast to the pale and frilly fashions of the day, took Paris by storm. That same year, a group of Austrians and Germans who were proponents of simple, linear design showed their work in Paris at the influential Munich Exhibition of Applied Art. Influenced by these events as well as African art and Cubism, the Art Deco style was characterized by strong color contrasts, geometric shapes, clean lines and stylized motifs.
The 1920s were notorious for their worship of novelty and luxury. The decade was a time of jazz music, avant-garde art movements and Josephine Baker’s Bal Nègre. Paris was the cultural center of the world. Women’s fashions were characterized by long, slim and tubular silhouettes (freed from the confines of corsets), fluctuating hemlines, lower waistlines, low-cut necklines and backs, and bare arms. Hair was cut short, in line with the garçonne look. Long, hanging earrings enhanced the neck. Clips adorned cloche hats and jacket lapels. Sautoirs of glass or wood beads, faux pearls or paste were worn very long (sometimes to the knee!), to emphasize the lines of clothes and to swing with the body. Brooches were worn on shoulders, applied to belts or placed at hip level. Bracelets – worn several at a time – started as flat, flexible, narrow bands and became wider in the 1930s.
In 1922, the discovery of the tomb of King Tutankhamen unleashed a wave of “Egyptomania”, which included Egyptian-inspired jewelry. Stylized hieroglyphics, pharaohs and scarabs were created in colorful stones and enameling. Much of the costume jewelry produced in this period still emulated precious jewels. White metal, clear and colored rhinestones, molded glass stones, beads, faux pearls, semi-precious stones (e.g., carnelian and chrysoprase) and marcasites achieved the same contrasting colors and textures as materials used in the creation of fine jewelry. In the mid-1920s, black and white jewelry was in vogue: contrasting diamonds and rock crystal with onyx or black enamel set in platinum in precious jewelry, and pastes with faux onyx or enamel set in pot metal, silver or Platinin in costume pieces. Then in the mid-1930s, diamonds pavé-set in platinum, for a shimmering, all-silver look, was the style. Costume jewelry makers responded with frosted glass (to look like rock crystal) set in chrome or nickel.
In the 1930s, figural clips and brooches (including ornate blackamoor heads) and baskets of fruit and flowers (known as fruit salads or tutti frutti) marketed by Cartier and other fine jewelers produced a wave of imitations among costume jewelry makers. The use of new and less expensive materials such as colorful plastics (Bakelite, Celluloid and Galalith), however, enabled some jewelry designers to create more daring and original pieces. Also in the 1930s, innovative manufacturing techniques developed in Pforzheim, Germany, which were later adopted by U.S. jewelry manufacturers, led to a more modernistic style in necklaces and bracelets. Among the types of pieces produced were geometric pieces of colored plastic and chrome-plated metal. Clips remained the most versatile and important accessory of the decade – they were worn at the neckline, on the lapel, at the waist and in the hair.
By 1930, when the world was plunged in the Great Depression, hemlines were ankle-length and long hair was worn pinned up. The economic crisis helped increase the demand for costume jewelry over precious jewelry. As a result, many workers moved from employment in the workshops of fine jewelers to those of costume jewelers. Because of the financial situation, many of these manufacturers had to shift from crafts-oriented, handmade construction to mass production. Design evolved to better suit these new manufacturing methods. In the political and economic turmoil of the time, however, the costume jewelry industry blossomed. In 1934, Paul Poiret, a member of one of the most prestigious French metalworking firms, wrote: “Costume jewelry, bound in the past to the copying of real jewels and therefore called ‘imitation jewelry’, has now freed itself from the slavery of copying and now produces moderate-priced ornaments with complete autonomy”.
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Retro Modern Jewelry (1935 through 1940s)
While not a style reflected in architecture or decorative arts other than jewelry, Retro Modern is a definite, recognizable style of jewelry design from the mid-1930s through the 1940s. The term itself is somewhat contradictory, as it suggests looking backward and forward at the same time. The mid-1930s saw a resurgence of romanticism and a return to Victorian sentimentality. The naturalistic motifs of the Victorian period replaced the sleek and streamlined Art Deco designs in jewelry. Geometric lines gave way to curvilinear softness and asymmetry. However, the flowers, animals and birds so popular in the 19th century were now larger and more stylized. In addition to these themes from the past, forward-looking motifs such as shooting stars, fireworks and atoms were employed.
By 1939, World War II had begun in Europe, and in 1941 the U.S. entered the conflict. As with the previous war, women took men’s places in the workforce and participated in volunteer organizations. Men and women were earning more but had fewer opportunities to spend, due to shortages in everything. Consumers were encouraged to “make do” with what they had. Rationing became a way of life. All levels of society had a need for luxury, brightness and escapism.
The war years had significant effects on fashion and jewelry. American designers had to look to themselves rather than to French designers for inspiration. In addition, government regulations restricted the amount of fabric that could be used for each garment, the length and even the depth of a hem. Narrow skirts with “front peplums” to give them fullness, “deep arm-hole cuts”, soft, padded shoulders and square necklines were the resulting trends. Pants and culottes became acceptable wear for women everywhere, not just in sports activities, because so many rode bicycles to work.
While clothing became more masculine, jewelry became more feminine. In addition to stylized flowers, birds and animals, popular motifs included buckles, bows, ribbons and fabric-like folds, drapes or pleats, as well as patriotic symbols such as flags, eagles and military insignias. Themes from Native American and Aztec folklore as well as the Old West also found their way into jewelry designs. Machine Age icons such as “tank track” and other repeating patterns were reinterpreted in yellow and rose gold finishes. Bracelets were wide and three-dimensional in the early 1940s. Charms of personal significance became a way of expressing sentiment. Double-clip brooches continued to be popular, but the Art Deco version of geometric, symmetrical sets evolved into more three-dimensional, asymmetrical images. Brooches were large and worn on shoulders. Large rings with square-edged stones and layered, stepped edges were popular.
The scale of pieces decreased during the war, due to material shortages. Jewelry became more “tailored” – metal was the predominant material. Pieces became flat, flexible and supple, in the form of snake chains, narrow links and woven mesh. If stones were used at all, they were small and skimpy. Necklaces were choker lengths of simple links or a flat chain ending in a tassel. Earrings were like miniature brooches that covered the ear lobe.
The war years brought major changes to the jewelry industry itself. The precision equipment and skilled metal workers of many American jewelry manufacturing facilities were re-tooled for war-related production. The makers who continued with jewelry manufacture were faced with shortages of materials, and the pieces produced in the war years reflected this situation. Sterling silver replaced base metals, which were restricted to war use. Pink, green, yellow and rose gold plating – often with multiple colors in the same piece – replaced rhodium. Seed pearls from the Gulf of California and imitation turquoise, coral and jade made from plastics were used to overcome the shortages in faux pearls, previously imported from Japan, and high-quality rhinestones from Austria and Czechoslovakia. Other popular materials included wood, leather, Bakelite, Lucite, natural shells, plaster and ceramic. In 1940, Trifari invented the “Jelly Belly” to make use of an abundance of Lucite.
Despite these challenges, the costume jewelry industry in the U.S. blossomed during this time. Sales reached an all-time high – with little clothing available, accessories had become all-important. By 1946, Providence, Rhode Island, was the costume jewelry capital of the U.S. The quality of costume pieces had climbed to new levels because many jewelers and craftsmen had switched to costume jewelry during the Depression and because many skilled workers fled the political situation in Europe for the U.S. Costume pieces were produced in all price ranges. According to C. Jeanenne Bell in Answers to Questions About Old Jewelry 1840-1950 (p.275), “Trifari, Krussman & Fishel was the style leader. Their jewelry was priced from $10 and up. R.M. Jordan was a leader in the medium-priced jewelry: $1 to $20. Monet was known for its tailored jewelry, and Forstner was the leading producer of the popular snake chains.”
Unfortunately, European jewelry manufacturers did not fare as well during the war years. At best, their production was halted; at worst, their factories were destroyed.
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Post-war Jewelry (1948 – 1960)
With the influence of European fashion cut off by the war, Hollywood and its stars defined the style of the 1940s. Marlene Dietrich, Joan Crawford and Greta Garbo were the idols of the time, and American women emulated their style in clothing and accessories. In fact, many costume jewelry makers designed for the movies and the stars, and many stars in turn were photographed in advertisements for the jewelry makers. For the first time, fashion reflected the American sporty, relaxed lifestyle instead of the elegance of French haute couture. Then in 1947, Paris regained the spotlight of world fashion when Christian Dior presented his “New Look” collection. It revived the image of the feminine, romantic woman. The slim, short skirts and padded shoulders that epitomized war-time shortages were replaced by soft, rounded shoulders, slim waists, mid-calf puffed skirts over multiple crinolines, tight bodices and plunging necklines. Femininity, romanticism and other styles from the past came back into fashion.
The New Look reached a post-war America that was steeped in optimism and prosperity. Industry and the economy flourished, as did the middle class and consumerism. Indulgence in luxury was the desired antidote for the deprivations during the war. The atmosphere was conducive to fashion. American designers’ interpretation of the New Look resulted in large and showy jewelry that imitated precious jewelry. They produced big brooches to accentuate the bodice, long earrings to frame the face and drippy bib necklaces to fill décolletage, all in what was called the Oriental style. Massive chokers, wide bracelets and hair ornaments were also essential. Stones cut in fancy shapes that emphasized the flowing lines of the design were combined with faux pearls. The new baguette-cut gave the illusion of sweeping or trickling movement in swirls, loops and drapes. The all-diamond look reigned supreme in the late 1940s, and color returned to the jewelry world by the mid-1950s. The most opulent pieces of this era were dubbed “fabulous fakes”.
For the most part, American women did not identify with Dior’s image of the “Perfect Lady”. They preferred to dress more simply during the day, with a career-style sweater and skirt or Italian-inspired outfit of black turtleneck sweater, black Capri pants and ballet flats. The little black dress was still a popular evening uniform. Jewelry was still as important an accessory as the matched shoes, handbag and gloves selected for an outfit. Tailored costume jewelry, another 1950s style, was primarily associated with the casual American attitude, in contrast with the cut stones and beads preferred by the French couturiers. Tailored pieces were graceful and classic, in gold or silver metal, often without stones. Gold-tone (more popular than silver) bangle bracelets, earrings and charm bracelets were essential parts of this wardrobe. Earrings were an important focal point because hair was worn short or pulled back into a ponytail or chignon. Earrings and brooches were variations of the same shapes: spiky sprays, snowflakes, circles and floral and leaf motifs. Texture was emphasized, with metal replicating linen, embroidery and wicker in finishes such as “Florentine” and “satin”.
The Oriental bib and the rope of beads and/or pearls were the most popular jewelry silhouette of the 1950s. Beads were mottled, speckled, and flecked with streaks and dots of color, much like the tweed fabrics that were popular for daytime wear. Beads were transparent or opaque, with smooth or knobby textures. Beads and faux pearls made in a wide range of colors were featured in both Oriental-style and tailored necklaces. They were also key ingredients for the bijoux de couture (the costume jewelry designed by the French couturiers who created original pieces rather than imitation jewels). Couturiers’ designs were often a source of inspiration for the costume jewelry designed for a broader audience.
Color was one of the most significant elements in 1950s jewelry. Innovative combinations included faux emeralds and sapphires, turquoise and blue, fuchsia and olive, purple and violet, and orange and yellow. Another trend was the use of several shades of the same color in a single piece, such as shades of brown – topaz, light brown, amber and caramel. Jewelry’s new palette also complemented the new, soft colors introduced in fashion: mauve, blue, lavender, peridot, yellow and gray. Then Balenciaga and Dior eschewed color and revived the 1930s trend of white. In 1953, Balenciaga made white the star of his new collection. The following year, Dior debuted mat-white porcelain beads strung in waist-length festoons and multiple strands. In response, other makers fashioned bib necklaces, collars and bracelets from white plastic. The summer of 1956 saw the debut of aurora borealis stones, perfected by the Swarovski firm in Austria, which gave an iridescent rainbow appearance to clear and transparent colored beads and stones.
