If Miriam Haskell's work were a person, it would be the glamorous
1930s
screen icon Joan Crawford, who was a major fan. Haskell's bijoux
fantaisie made costume jewelry more fashionable than fine jewelry and
helped it become a valuable art form in its own right.
Miriam Haskell jewellery |
When
she established the Miriam I laskell Company in 1926, she appointed
Frank Hess as chief designer. Hess had been a window dresser at
Macv's department store, and Haskell's trust in his ability was
repaid. With asymmetry as his watchword, Hess designed innovative and
stylish pieces for Miriam Haskell.
The
1930s saw Haskell open retail outlets in the Saks Fifth Avenue store
in New York City and Harvey Nichols in London. This further elevated
her profile and prestige, building on her already strong reputation.
She had employed highly skilled artists from Europe in the 1920s and
1930s, and maintained exceptional standards of design, craftsmanship,
and components.
From
the 1940s through the 1950s, Frank Hess designed intricate, handmade
designs featuring baroque and seed pearls, rhinestoncs, and iconic
combinations of colored beading, woven tapestry-styleonto
antiqued filigree backs that became known as the signature Haskell
style. Nature was a strong inspiration, referenced through floral,
foliate, and sometimes butterfly designs, as well as the use of
pearls, shells, nuts, coral, and woven cords.
Miriam Haskell jewellery |
Miriam
Haskell and Frank Hess frequently traveled abroad to source the best
materials: there were glass beads from Murano, Italy; faceted
crystals from Austria and Gablonz, Bohemia (present-day Czech
Republic), including her signature flat-backed roses montees set in
pierced metal cups; and Japanese faux pearls.
These quality components were artfully woven together, and it was this attention to detail that made Haskell's work so compelling. During World War II, many restrictions were placed on manufacturing, and innovators such as Haskell turned to materials such as wood, plastics, and even feathers for feature components.
These quality components were artfully woven together, and it was this attention to detail that made Haskell's work so compelling. During World War II, many restrictions were placed on manufacturing, and innovators such as Haskell turned to materials such as wood, plastics, and even feathers for feature components.
Miriam Haskell jewellery |
Robert F. Clark, who started working for
Haskell in 1958 and became head designer after Hess, is best known
for his bibs and festoon necklaces, chunky chokers, and a love of
symmetry and repetition. His sophisticated designs frequently
featured mother-of- pearl and pearlized metals.
After a brief period working under PeterRaines, Larry Vrba became Haskell's head designer in the 1970s. Yrba is known for his oversized, elaborate, and colorful designs, beloved of New York's transvestite community today.
This work was the most fantastic produced by Haskell. Millie Petronzio, who took over as chief designer in 1980, was responsible for the "Retro Line" in 1992, which recreated old Haskell designs, sometimes with a new twist.
After a brief period working under PeterRaines, Larry Vrba became Haskell's head designer in the 1970s. Yrba is known for his oversized, elaborate, and colorful designs, beloved of New York's transvestite community today.
Miriam Haskell jewellery |
This work was the most fantastic produced by Haskell. Millie Petronzio, who took over as chief designer in 1980, was responsible for the "Retro Line" in 1992, which recreated old Haskell designs, sometimes with a new twist.
I
sually no Haskell design ever emulated classic fine jewelry. The
bold, unusual, and glamorous look she captured appealed to the world
of show business: Haskell pieces were featured on stage, film, and
television, including designs for the Ziegfeld Follies and
The Phantom of the Opera on
Broadway,
The Lucille Ball Show, and
many Hollywood stars, such as Joan Crawford.
Miriam Haskell jewellery |
Miriam Haskell died in 1981. Her company is
still in operation today, and continues to produce
vintage-Haskell-style jewelry.
pearls
maintain a timeless popularity and Haskell's faux-pearl jewelry is
among the most varied and refined on the vintage market. Originally,
fine-quality imitation pearls came from Gablonz, Bohemia. However, in
the late 1930s Japan entered the market as an alternative and
competitively priced supplier of faux pearls.
After the end of World War II, it was to Japan that Haskell turned to source her pearls.
The seed and baroque pearls were immersed several times in a blend called essence d'orient, a solution of cellulose, fish scales, and resins. These gave the pearls a deep luster that European rivals could not match, and they are highly prized by collectors today.
Baroque pearls, with their crinkly surface and irregular shapes, were exclusively supplied to Haskell.
After the end of World War II, it was to Japan that Haskell turned to source her pearls.
The seed and baroque pearls were immersed several times in a blend called essence d'orient, a solution of cellulose, fish scales, and resins. These gave the pearls a deep luster that European rivals could not match, and they are highly prized by collectors today.
Baroque pearls, with their crinkly surface and irregular shapes, were exclusively supplied to Haskell.
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