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1970s jewellery




1970s jewellery








1970s jewellery








The 1960s were a time of affluence, change, and technological progress. Youth culture dominated most fashion trends, and the formal, elegant attire of the older generation was superseded by the carefree casual clothes worn by the young, such as the mini skirt. Slim- fitting and brightly colored, they were a world away from the formality of previous decades.



Stepping away from reality



In the immediate post-war period, French fashion designer Christian Dior led a revolution in clothes for women. Introduced in 1947, Dior's famous "New Look" was alluringly luxurious after all the wartime austerity. It ushered in an era of prosperity and optimism. Just like his fashions, Dior's opulent-looking costume jewelry echoed his fascination with French history and antiques.



 He  never simply copied historic jewelry, however, but gave historic forms a modern twist. For example, he liked the contrast between traditional settings and blatantly artificial, colored f aux gems. 




This theme can be seen in the jewelry designed under creative director Marc Bohan, who led the label from 1960 to 1989. I le successfully designed clothes and accessories which appealed to Dior's older clientele and new, younger buyers.






1970s jewellery




In contrast, American designer Stanley Hagler's necklaces, bracelets, and earrings bear little relationship to real jewels, but in their own way they were just as luxurious and extravagant as Dior's pieces. 1 lagler's remarkable creations were assembled entirely by hand from clusters of seed pearls, glass petals, and gilt.









 His design mentor was Miriam I laskcll, whose company he worked for briefly in the late 1940s before starting his own business. I Iagler pushed the boundaries of Haskell's ideas: not only were his designs far more complicated, he also preferred to use pearls in new fantasy colors such as coral, ultramarine, and honey brown.



From space age to disco




In the 1960s, the space age inspired costume jewelers to take a completely fresh approach to jewelry design. They experimented with manmade materials such as enamel, plastics, and mirror-like white metal to create futuristic pieces inspired by the possibilities of space travel and scientific research into the atom. These simple, geometric designs were often bold and brightly colored. 





Typical space-age pieces include wide bangles, dangling earrings, chunky rings, and square or circular pendants on chains. Novel and fun, these inexpensive pieces of jewelry were the ideal way to complete the youthful look of the era. Many used plastic or nylon filaments to great effect, as well as featuring colors which were far removed from anything seen in nature.





 
Costume jewelry styles were highly eclectic in the 1970s.



 The Massachusetts-based firm of Whiting & Davis had been renowned for manufacturing fine metal-mesh chains, handbags, and change purses since the beginning of the 20th century. In the 1970s, it caught the disco trend by making mesh jewelry to complement its bags. 








1970s jewellery




Other companies worked with new designers to add contemporary designs to their range. Trifari's association with Diane Love was particularly successful.






Throughout the decade, brightly colored plastics continued to be popular for beads, bangles, and pins made to look like flowers, but there was also a reaction against the type of cheap and cheerful jewelry that was intended to be discarded when it fell out of favor. 
1970s jewellery




The period saw a return to natural materials and traditional craftsmanship. Young artisan silversmiths produced their own simple pieces by hand in small workshops.



 The homespu look of wooden beads and bracelets became fashionable. Young men and women took to wearing leather thongs hung with feathers, shells, and ceramic amulets around their neck or wrist.


Reinterpreting the past









One of the most important figures in costume
jewelry of the period was American designer Kenneth Jay Lane. He specialized in outrageous, outsized interpretations of precious jewelry. Lane's fantasy jewels often featured massive plastic
cabochons in gaudy colors such as turquoise, coral red, and bright pink. 





His famous "big cat" pins were inspired by precious jewels designed by Cartier, and he also produced overtly fake versions of Van Cleef & Arpels's lion-head doorknockers.



In the early 1970s there was also growing interest in original Art Nouveau ^nd \ Art Deco pieces which were inexpensive to buy. Stylish women began to collect


vintage costume jewelry from the 19th and early 20th centuries, and i( became ' fashionable to visit antique markets in search of Art I)cco Bakelite bangles, late 19th century marcasite pins, and paste jewelry.




 As demand began to outstrip supply, a number of manufacturers started to produce copies of older costume jewelry designs.The time was ripe for a retro costume jewelry revival.

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