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| 1940s jewelry |
Hollywood
inspired a demand for gorgeous gowns and costume jewelry.
The movies
alsofed
a desire for an exciting social life. They not only glamorized nights
out on the town
dining
in restaurants or dancing at clubs, but also helped popularize a new
way of entertaining at home—cocktail parties held in the early
evening.
This
more casual conviviality required less formal dressing—more
Chanel-style "little black dress" than traditional
eveningwear. It became all the rage to accessorize this simpler
night-time look with amusing, eye-catching costume jewelry.
Like
her archrival Coco Chanel, the leading Parisian fashion designer Elsa
Schiaparelli encouraged women to use costume jewelry as a fashion
statement. Schiaparelli's dramatic style was the polar opposite of
Chanel's understated elegance. Closely associated with the Surrealist
artists and their provocative dream-inspired imagery, she designed
clothing and jew elry full of shocking surprises.
In
the 1930s Schiaparelli worked with artists and designers such as
Salvador Dali,
Jean
Cocteau, and Jean Schlumberger to produce unexpected designs
including telephone earrings, pea-pod necklaces, and lantern pins
that actually lit up.
However, it is the jewelry she designed in New York City in the 1950s that brought her work to the masses. Her abstract and naturalistic designs used unusual iridescent "fantasy" paste stones and glittering rhinestones w hich were often copied but never bettered.The development of the cocktail style
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| 1940s jewelry |
However, it is the jewelry she designed in New York City in the 1950s that brought her work to the masses. Her abstract and naturalistic designs used unusual iridescent "fantasy" paste stones and glittering rhinestones w hich were often copied but never bettered.The development of the cocktail style
The
outbreak of World War II led to America's isolation from Europe and
shortages of imported raw materials such as rhinestones. By the time
the United States entered the conflict in 1941, the government had
imposed restrictions on base metals which were needed for the war
effort.
Despite these adverse conditions, American
costume jewelers thrived by substituting sterling silver for base
metals and using new plastics such as Lucite in place of
cabochon-cut pastes.
Without European trends to influenee their designs, US jewelers started to produce the first completely American look. One of the most distinctive features of this American style w as the lavish use of deep yellow vermeil, or silver gilt as it is also known. These new designs were often dominated by enormous stones. Another key characteristic was the use of jarring combinations of colored faux gems, for example aquamarine blue against ruby red.
Without European trends to influenee their designs, US jewelers started to produce the first completely American look. One of the most distinctive features of this American style w as the lavish use of deep yellow vermeil, or silver gilt as it is also known. These new designs were often dominated by enormous stones. Another key characteristic was the use of jarring combinations of colored faux gems, for example aquamarine blue against ruby red.
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| 1940s jewelry |
These free-form pieces were more dynamic and
streamlined than their Art Deco predecessors. One frequent source of
inspiration
was the machine in motion; another was abstracted design that looked
like drapery. Bold sculptural bows and scrolls were also common.
The new American style became known as cocktail jewelry, after the fashion for wearing it to cocktail parties and other dressy evening assignations. The style was exciting and assured: costume jewelry now set the trend while real pieces followed in its wake.
The new American style became known as cocktail jewelry, after the fashion for wearing it to cocktail parties and other dressy evening assignations. The style was exciting and assured: costume jewelry now set the trend while real pieces followed in its wake.
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| 1940s jewelry |
Coro
and Trifari were the pre-eminent American costume jewelers of the
1940s. Both firms originally found success imitating Art Deco
precious jewels. Inspired by Carrier's designs, Coro was the first
costume jewelry manufacturer to produce interlocking double clips
that could be used together or separately
Called "Duettes," they became immensely popular. Meanwhile, Trifari—under chief designer Alfred Philippe—made its name producing good-quality costume jewelry versions of tutti-frutti pieces.
Called "Duettes," they became immensely popular. Meanwhile, Trifari—under chief designer Alfred Philippe—made its name producing good-quality costume jewelry versions of tutti-frutti pieces.
Coro
and Trifari were in the vanguard of cocktail style. In the late 1940s
and early 1950s, they took the fashion for dressy costume jewelry
forward in a fun, figural direction.
The most notable Coro designs of the period include pins shaped like hands, donkey carts, and angelfish, while Trifari became associated with "Jelly Belly"animal pins made from Lucite.
The most notable Coro designs of the period include pins shaped like hands, donkey carts, and angelfish, while Trifari became associated with "Jelly Belly"animal pins made from Lucite.
In
the mid-1950s, Swarovski developed a special shimmering rhinestone
for Christian Dior. The company called its new glass gems "aurora
borealis" after the famous northern lights.
These
iridescent rhinestones were also used by Weiss, the New York costume
jewelers, to create a range of jewelry for evening wear which became
very influential. Weiss's "aurora borealis" designs
consisted of a glittering cascade of marquise- and brilliant-cut
rhinestones in fantasy hues such as plum,
smoky
gray, and citrus orange.
They were of first-rate quality and Weiss's ingenuity—for example, setting rhinestones upside down to make their shimmer more pronounced—earned the company accolades among its peers,
They were of first-rate quality and Weiss's ingenuity—for example, setting rhinestones upside down to make their shimmer more pronounced—earned the company accolades among its peers,
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