Adorning Fashion

Deanna Farneti Cera worked for several years as

Adorning Fashion

DEANNA FARNETI CERA

Vice-Director and Curator at Bologna’s Municipal Museum of Modern Art. In 1991 she organised the exhibition ‘Jewels of Fantasy’, which opened in Milan, and went on to tour several European and American Museums. She is the author of many books on

The History of Costume Jewellery to Modern Times

jewellery and costume jewellery, among them Costume Jewellery (ACC, 1997), The Jewels of Miriam Haskell (ACC, 1997) and Fashion Jewels: Coppola e Toppo (ACC, 2009).

Jugendstil, Art Nouveau, Art Deco and each decade of the 20th century to the 1980s – are richly To see the full catalogue of books published by

illustrated and reviewed within the context of their social history. Chapters include expert information

ACC Art Books, please go to our website:

on manufacturing methods, materials, and the best designers and manufacturers, such as Gripoix, Goossens, Degorce, Max Boinet, Roger Scemama, Roger Jean-Pierre, Mitchel Maer, Trifari, Coro,

www.accartbooks.com

Eisenberg, Joseff, Kenneth Jay Lane, Coppola e Toppo, Giuliano Fratti, Miriam Haskell and Marcel Boucher, among others.

ACC ART BOOKS Sandy Lane, Old Martlesham Woodbridge, Suffolk IP12 4SD, UK

Adorning Fashion

glimmer to the high style of modern times. The trends of each era – Victorian, Edwardian, Arts & Crafts,

The History of Costume Jewellery to Modern Times

This authoritative and encyclopaedic study presents the evolution of costume jewellery from its first

Adorning Fashion The History of Costume Jewellery to Modern Times

From pinchbeck, the first credible imitation gold, to paste, to the iridescent shimmer of aurora borealis rhinestones… throughout history, faux jewellery has found a way to adorn women without the expense of diamonds and gold. Originating in mid-1700s England and then spreading to the rest of Europe with the rise of the bourgeoisie, bijoux d’imitation was an affordable alternative to fine jewellery. Chanel and Schiaparelli both embraced the concept of “fabulous fake”, making costume jewellery a must for every elegant woman.

As haute couture gave way to custom-made outfits, couturiers and then fashion designers often chose to

DEANNA

FARNETI

CERA

create their own accessories, giving rise to “fashion jewellery”. And as women’s roles changed in society, so costume jewellery developed its own style and became an artform in its own right.

Front cover: Jean Shrimpton wearing Festoon collar necklace, Unknown maker, France, 1963 Glass fire-polished beads linked by hand Photograph by John French 1963 © John French / Victoria and Albert Museum, London

Tel 01394 389950 Email: uksales@accartbooks.com ACC ART BOOKS 6 West 18th Street, Suite 4B New York NY10011, USA Tel 212 645 1111 Email: ussales@accartbooks.com

ISBN: 978-1-78884-047-7

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Back cover: Floral motif brooch attributed to Christian Dior Unidentified maker (H.G.), France, c.1950 Silver and hand-set rhinestones, central glass paste stone (imitation emerald) decorated with a small rhinestone pin Marks: boar’s head; “H.G.” in a lozenge with an illegible figure

DEANNA FARNETI CERA

Adorning Fashion THE HISTORY OF COSTUME JEWELLERY TO MODERN TIMES

ACC ART BOOKS

CONTENTS

6 Acknowledgements

122 Art nouveau style (France, 1894–c.1920)

8 Non-precious ornaments: origins, collecting, identification

128 Jugendstil (Austro-Hungarian Empire, 1890–c.1914)

24 New fashion, new materials, inventions and production techniques (1700–1870) [26] Gilding; imitation gold and silver [30] Bohemia, the home of rhinestones and imitation stones [38] Venice, the land of artistic glass beads and pearls [40] Simulated pearls [42] Cut-steel jewellery [44] Marcasite jewellery [46] Berlin iron [48] Mother-of-pearl jewellery [50] Jewellery made of hair [52] Tortoiseshell jewellery [54] Mourning jewellery [56] Jewellery made of plastic [66] Horn jewellery [68] Jewellery in pâte de verre (glass paste) [70] Pâte de verre enamel [72] Machine-made ornaments [74] Daniel Swarovski – mechanically cut rhinestones and imitation stones 76 1700–1870: The birth and establishment of Bourgeois fashion 100 1870–1990: Jewellery as a sign of distinction 108 Edwardian style (UK, 1901–1910) and garland style (France, 1895–1914)

132 Wiener Werkstätte (Vienna, 1903–c.1930) 136 Italian Liberty style (Italy, 1895–c.1920) 140 1910–1920s style 150 Art Deco style (1910–c.1930) 168 Jewellery of the 1930s 222 Jewellery of the 1940s 242 Jewellery of the 1950s 288 Jewellery of the 1960s 320 Jewellery of the 1970s 352 Jewellery of the 1980s Endmatter [378] Endnotes [379] Glossary [383] Designers, makers and companies [391] Bibliography [396] Index

116 Arts and Crafts (UK, 1860–c.1920)

5

ACKNOWLEDGEMENTS

6

I wish to thank all those who have made the publication

whom I would not have been able to provide information

of this book possible. First of all, my family, from my

about the manufacturers, especially the American ones,

husband Maurizio Cera to our children Laura and Matteo,

whose history I was only able to find thanks to her

who have always put up with my absences and the huge

marvellous collection of books on the applied arts. I was

amounts of time I have taken away from them to devote

equally assisted by one of the officials of the Bureau de

myself heart and soul to this project. I am particularly

Garantie in Paris, Monsieur Jean-Luc Queille, who helped

indebted to my daughter Laura Cera for her constructive

me conduct research into the French hallmarks of the first

and ‘modern’ criticism concerning the contents and the

half of the 20th century, meticulously preserved in their

layout of this book.

offices in neat and fragile folders, painstakingly written by

My “teacher” of history of art, Lea Vergine, whom I

hand.

consider the most brilliant modern art critic in the world,

I cannot fail to say publicly that I have been helped

among all my friends has been the one who most

by those who have worked with me and for me, with

encouraged me to face the adventure of a new book.

different but all essential skills – studying, photographing,

Through her, many years ago I met and sympathised

classifying, restoring, cleaning, listing the jewels that

with a young art student, Francesca Alfano Miglietti. She,

have ended up in the book, elaborating the graphic

who has became a famous art and fashion writer and

presentations of the book: Emmanuele Randazzo, who

opinionist, introduced me to the publisher, Eric Ghysels

took most the photographs of the jewellery pieces

of 5 Continents Editions. He believed in this book and has

published here, with just a few exceptions, Gina Passerai,

produced it, together with his staff, in particular Laura

Stefania Bertaglia, Clarice Cassou, Nicoletta Lamacchia,

Maggioni, Annarita De Sanctis, Valentina De Pasca,

Nello Marchesano, Nicola Usai, Lucrezia Lauria Zirone.

who with dedication and competence have followed the

My gratitude goes to Enrica Morini, without whose books

production of this book.

and advice I might not have been able to tackle the

My thanks to James Smith of ACC Art Books for

topic of 19th-century fashion. I owe a great moral debt

enthusiastically agreeing to publish this book and to

towards Melissa Gabardi, who accompanied my writing

Susannah Hecht, Senior Editor, who has revised my text

of the text and the choice of jewellery with competence

with professionalism, competence and scientific rigour.

and confidence. I am grateful to Giovanna Frossi of Oro,

I thank them both for having believed in the success of

Incenso and Mirra (Milan) who, with her knowledge of

my project.

the ornaments of the 19th century, for which she has

I would not have been able to put together so much

garnered a great reputation, helped me to choose and

information and so many images without the help of

catalogue the jewellery pieces of that period.

some Milanese friends/colleagues, like Alessandra Chiodi

Pamela Golbin, chief curator of the Musée de la Mode

and Martine Volka, who are always ready to share with

et du Textile, part of the Musée des Arts Décoratifs in

me their time and knowledge about jewellery. I wish to

Paris, Linda Lloyd-Jones and Clare Phillips of the Victoria

thank them all for having allowed me to realise this book.

& Albert Museum in London, Adelheid Rasche of the

I am deeply grateful to Ilene Chazanof of New York, without

Germanisches Nationalmuseum in Nuremberg, Patricia

12

The first element to identify is the place of manufacture,

specifically for export to the United States. However,

since this information is essential to be able to proceed

during the recession years, America opted for a policy

with the further identification of the piece; of all the

of protectionism of its economy, particularly in the years

possible inscriptions, hallmarks offer the most reliable and

following the WWII; during this time, American customs

incontrovertible evidence for this.

laws imposed heavy duties on foreign products. This

For silver pieces the legal hallmark, which differs from

desire to discourage imports into the United States

country to country, is helpful to establish a reliable

required that the imported articles bore an inscription

attribution. In fact, what is sold as “silver” is never pure

clearly stating the country of origin, e.g. “Made in France”,

silver: it is an alloy, the other metals being added so as

“Made in Germany”, “Made in Italy”, or, more simply,

to give greater consistency to the artefact. The ratio of

“France”, “Germany”, “Italy”. This type of inscription on

silver to the other metals also varies according to country.

an unsigned piece of fashion jewellery clarifies its country

‘Fineness’ is the word used to define the relationship

of origin and the approximate date of manufacture.

between the weight of pure precious material and the total

A third possible inscription may be helpful: “Déposé”

weight of the alloy that is called “gold” or “silver”. For silver,

(short for modèle déposé). This would be inscribed on

which is commonly used in fashion jewellery, the fineness

French bijoux de couture specimens that had been

can be as follows: 925/1000 (925 parts pure silver per

deposited at the office of the Association de Protection

1000, also known as Sterling silver), or 800/1000 (800

des Industries Artistiques Saisonnières (Association for

parts of pure silver per 1000).

the Protection of Artistic Seasonal Industries).

To ensure the legal fineness of silver, each country applies

In the absence of any kind of inscription, it is possible to

its own hallmarks. The hallmark warranties of precious

determine the country of origin by first examining all the

metals are complex and deserve a separate discussion.

materials used and the type of workmanship. If the piece

However, it is right to provide some basic information

of jewellery being examined has been made from a cast,

here as knowledge of when a certain hallmark was used

given the high cost of the moulds in the preparation of

will help to ascertain the date of manufacture and to trace

this type of manufacturing technique, in all probability it

the origin of a piece of jewellery.

would have been produced in large number for a vast

Among the many legal marks, the most common are:

customer base. It is, therefore, natural to assume that we

silver jewellery in the United States bears the inscription

are dealing with the United States.

“Sterling”; in the UK the legal silver hallmark is a “lion

A piece of jewellery that has been constructed by welding

passant”; in Italy the hallmark is “800”; in France the most

prefabricated components together or in which the

common hallmarks for small objects in 800/1000 silver

component parts have been assembled by hand is most

are a boar’s head and a crab, in use from 1838 to 1962;

likely to have been manufactured in Europe for the European

“830” is valid for Austrian jewellery; “925” for German

market and, therefore, for a more limited marketplace.

domestic jewellery and “Sterling Germany” on German

If a piece of fashion jewellery is perfectly finished in

jewellery made for export.

all its parts, both front and back, then this suggests

In addition to the legal hallmark that guarantees the

mass production with highly specialised machines;

metal, there is often also a maker’s mark. However, these

this characteristic necessarily makes us think of the

manufacturer’s initials are not always easy to relate to the

United States or Germany. In contrast, fashion jewellery

complete name of a company or maker.

manufactured in Europe was almost always handmade

Today, coming to our aid in assigning initials or a figure to

and, therefore, one can see some of the inaccuracies and

a full name are the many websites that combine images

differences that underlie manual work.

of jewellery with the different manufacturers’ marks, or

Matte and thick gold-plating, which is referred to as

simply show the initials in alphabetical order and their

“antique Russian gilded metal” by the experts, and the

correspondence to the whole names. Some of these sites

use of vitreous enamel (pâte de verre émaillée) indicate

are very good, others less so, but in general they are an

French workmanship. Some types of settings are only

important tool to define data that in the recent past would

used in American fashion jewellery, whilst others are

otherwise have remained incomplete (see set no. 11,

exclusively used in French fashion jewellery. The types of

p.22). The full name of the manufacturer and the country

functional findings (clasps for necklaces, safety devices for

of manufacture of a piece of silver jewellery can, therefore,

needles, pins for fur clips) in fashion jewellery of the 20th

be readily identified by its hallmark and maker’s mark.

century differ in terms of shape and material depending

Some jewellery manufactured in Europe was intended

on whether they are American or European. For example:

In Europe alone, there were thousands of designers/ makers who worked with passion, skill and humility in the field of fashion jewellery. Most artisans dedicated to the workmanship of bijoux d’imitation and fashion jewellery of the highest quality come from France, which has traditionally supported and sustained the métiers d’art: Piel Frères, Maison Degorce, Max Boinet, René Mittler, Georges Desrues, Jean Schlumberger, Fulco Santostefano della Cerda, Duke of Verdura, Jean Clément, Francis Winter, Maison Gripoix, Louis Rousselet, Robert Goossens, Line Vautrin, Jeanne Péral, Lina Baretti, Cissy Zoltowska, Monique Vedie, Roger

Top: Articulated fur clip Max Boinet, France, 1946 Enamelled gilded metal, glass stones, simulated drop pearls Published in: Vogue France, January-February 1947, p.166 2.8 x 15.5 x 1.2 cm Bottom: Bridge-shaped brooch Max Boinet, France, 1937 Gilded metal, glass paste stones (imitation emerald), rhinestones Published in: L’Officiel de la Couture, Paris, 1937, no. 189 7 x 2.9 x 0.7 cm

Scemama, Roger Jean-Pierre, Vendôme, Jacques Gautier, Françoise Montague, Lola Prusac, Madeleine Rivière. Each and every one of these creators represents the expression of a style and of different processes of workmanship.

Considered together, this group gives an idea of the vast panorama of artisans/artists who worked in this area. In Germany and Austria, thorough historical investigations have focused on Theodor Fahrner, Jakob Bengel, Henkel & Grosse and Langani, as well as the craftsmen of Gablonz and Bohemia.

When it comes to Italy, I have written extensively about Coppola e Toppo, to whom I dedicated a monograph, Luciana Aloisi de Reutern, Fratti, Canesi, Borbenese, 3

Cascio, Ornella, Elfe Bijoux and other creators linked to the “Made in Italy” label of the 1970s and ’80s (Ugo Correani, Sharra Pagano, Donatella Pellini, Daniele Cornaggia, Unger, Carlo Zini, Angela Caputi, among others) to whom I dedicated a book.1 Each of these artisans/artists has a specific way of working and a particular style that differentiates them from one another. (See set no. 9 on p.21, on which the manual metal processing, the Russian antique gilding, the refinement of a very classical model, and the inscription “Italy” all suggest Luciana Aloisi de Reutern.)

So, what should be done when researching an unsigned

4

16

piece of fashion jewellery and the above-mentioned

Professionals in the field of fashion know the individual

sources do not contain the required information? Both

styles, the themes of the collections, and the preferred

in the past and today, a single supplier, especially when

subjects of these couturiers/designers. Thanks to a 1939

he/she is very clever, will often work for a number of

collection dedicated to the “Commedia dell’Arte”, I was

different couturiers and designers. When one looks at

able to attribute the unsigned brooch no. 6 on p.18, with

jewellery produced by the same manufacturer for several

a mask motif, to Elsa Schiaparelli made from a Roger

couturiers, three possibilities arise:

Jean Pierre design.

• In the first instance, the stylistic matrix of the

I attributed the unsigned sautoir no. 13 on p.23 to Chanel

manufacturer prevails, especially when that manufacturer

because it is typical of her style, in the same way that the

specialises in particular processes or in the production of

classical motifs of the unsigned necklace no. 8 on p.20

a highly recognisable genre of fashion jewellery; this is to

led me to attribute it to Dior.

the consequent detriment of the commissioning couturier.

Opposite page: Articulated necklace with dragon motifs Robert Goossens for Chanel, France, late 1950s Antique Russian gilded metal components, simulated teardrop pearl Published in: Vaudeville, M. L., ‘Coco Chanel avait inventé le bijou ‘haute fantasie’ in Revue française des Horlogers Bijoutiers, April 1971, no. 362, p. 57 Necklace : 46 x 5.7 x 1.3 cm Pendant: 1.8 x 2.8 x1.6 cm

ART DECO STYLE (1910–c.1930)

One cannot approach the subject of Art Deco without

Domed ring decorated with intersecting lines Unknown manufacturer, France, c.1930 Silver-coloured metal, plastic Mark: “France” 2 x 1.6 x 0.8 cm

examining how it began, starting with Futurism, an art movement founded by Italian poet F.T. Marinetti, who published the movement’s manifesto in Paris in 1909.

The theories of Futurism were embraced in 1910 and in 1911 by many painters, including Boccioni, Carrà, Russolo, Severini, and Balla.

Opposite page: Madame Agnès Jean Dunand, c.1925-26, Gelatin silver print with gouache and gold and silver applications Courtesy of Galerie Michel Giraud, Paris

The movement arose from an idea of vitality and energy, which quickly turned into interventionism and nationalism.

Members of the Futurist movement aimed to develop a new dynamic language made up of strong gestures and “words-in-freedom” that were suited to everything that was modern: the city, cars, speed… Their paintings, which also took into account the work of Cubist artists of the same period, were based on the decomposition of form and colour. Within the movement, Balla, Thayaht,

150

and Depero also conducted research into modern attire,

for everyday use, was supposed to help people perceive

especially for men, creating clothing characterised by

beauty and art, combined with function, thereby allowing

clean, straight, geometric lines that could be altered with

them to work with more satisfaction. As there was no

so-called “modifiers”, coloured patches that were applied

tailoring tradition in Russia, the various projects aimed

depending on one’s mood.

at designing clothes for the masses never got past the

In the wake of the Futurist provocations applied to the

prototype stage and were, therefore, never produced.

Cubist artists’ theories on colour, in 1913 Sonia Delaunay

However, these prototypes were displayed at the various

– a Ukrainian painter who had moved to Paris and married

international exhibitions, in particular at the 1925 Paris

the painter Robert Delaunay – began producing straight,

Exhibition, in which Russia participated because of its

geometric, coloured apparel that she called simultanés,

recognition by France. The projects in question, along

(simultaneous clothes) whose motifs were derived from

with the imaginative costumes that had been seen in

the decomposition of colours.

previous years in the Ballets Russes, created by Russian

The postulates of the Russian Revolution also encouraged

artists, had a strong impact on French couturiers.

a change in fashion: no longer clothing that identified an

It was the 1925 Exposition Internationale des Arts

elite, but attire meant for the masses. These clothes were

Décoratifs et Industriels Modernes from which, many

designed so that class differences would not be revealed;

years later, the term Art Deco was coined to refer to the

the point was to make all people look equal. Clothing,

geometric, rigorous, clean style characterised by strong

151

Opposite page: Top: Stud earrings with beetle motifs Unknown manufacturer, France, c.1925 Fired enamel on silver, moulded glass paste stones (beetles) 0.4 x 4 x 0.7 cm

Bottom left: Egyptian revival-style buckle Unknown manufacturer, Germany, c.1925 Partially fire-enamelled moulded silver Mark: “900” 4.2 x 9.2 x 0.3 cm

Middle row: Two Egyptian Revival-style brooches Unknown manufacturer, Italy, c.1922 Partially enamelled silver Marks: “800”; unidentified mark Left: 3.8 x 3 x 0.1 cm Right: 3 x 1.2 x 0.1 cm

Bottom right: Egyptian revival-style buckle with two pharaoh heads Unknown manufacturer, Germany, c.1925 Partially enamelled and burnished metal 7.6 x 7.8 x 0.4 cm

This page, top: Pair of hinged Egyptian revivalstyle bracelets Unknown manufacturer, France, c.1925 Gilded metal partially enamelled in red and blue 16.7 x 4.8 x 4 cm

Bottom left: Flying bird brooch Unknown manufacturer, Italy, c.1925 Enamelled silver, glass paste stone (imitation turquoise) Mark: “800” 4.7 x 2.2 x 0.3 cm Bottom right: Brooch with spread wings motif Manufacturer unknown, France, c.1925 Enamelled metal, glass paste stone 4.3 x 0.7 x 0.5 cm

159

160

Clockwise from top: Three bar brooches with pendants decorated with: a horse’s head, a cat, and a bear Unknown manufacturer, Italy, second half of the 1940s Pendants in partially painted galalith on a brass plate 4.2 x 5.8 x 0.4 cm Brooch in the shape of an aeroplane complete with pilot Unknown manufacturer, Italy, second half of the 1940s Painted celluloid 5 x 4.7 x 0.8 cm Mask brooch Costante Ermolli, Italy, second half of the 1940s Gilded metal chain and base, Galalith 3.9 x 8.3 x 0.6 cm

Opposite page, from top: Tiara designed by Lyda Coppola Handmade by Coppola e Toppo for Elsa Schiaparelli, Italy, late 1940s Fire-polished glass beads, clawset rhinestones mounted on a metal beading screen Published in a vintage photograph in: Farneti Cera, D., Fashion Jewels Coppola e Toppo.

Woodbridge: Antique Collectors’ Club, 2009, p.28 15 x 5.5 x 1 cm Articulated bracelet in Moorishstyle Unknown manufacturer, Italy, c.1940 Silver, coral cabochon-cut stones Marks: “84 FI”; central fasces symbol (hallmark for silver in the shape of an axe bundled with birch sticks, taken from roman symbology and used during the period 1934-1945 as symbol of the Italian Fascist national party); “800” 18.5 x 3.5 x 1.3 cm

240

241

Opposite page: Marine chain sautoir Unknown manufacturer, Italy, c.1965 Partially enamelled silver Marks: “925”; and an illegible mark 82 x 1.2 x 0.4 cm Marine chain bracelet Luciana Aloisi de Reutern, Rome, Italy, c.1965 Enamelled silver twisted to form a rope Mark: “800” 21 x 2 x 0.5 cm

This page: Fish and butterfly pendants Viganò, Milan, Italy, c.1968 Leather cord, multicoloured conterie (butterfly), sequins sewn on fabric (fish) Leather cord:106 cm Butterfly pendant: 13.6 x 8.3 x 0.4 cm Fish pendant: 14 x 11.3 x 0.4 cm

315

JEWELLERY OF THE 1970s

In the United States, the year 1968 marked a turning

Geometric ring Premier Étage, France, c.1970 Silver-coloured metal 3.5 x 2.6 x 2.6 cm

point for the student protest movement against the war in Vietnam, with clashes between demonstrators and the police at Columbia University in New York and, more tragically, with the killing of four students by the National

Opposite page: Model wearing a dress and large piece of fashion jewellery, both

by Gianfranco Ferré, 1979 Photo by Gian Paolo Barbieri © GIAN PAOLO BARBIERI Courtesy of Fondazione Gian Paolo Barbieri

Guard at Kent State University in Ohio in 1970. The hippies, who believed they could change the world by championing and applying the principles of non-violence, saw their dream shattered. With the realisation that their slogan, “Make Love Not War”, however rewarding and romantic it may have seemed, was not enough to change the system, the disappointed hippies of the 1970s turned to the mysticism of the Eastern cultures and their customs.

Young people viewed capitalism as harmful to individual freedom, and uninteresting due to its conformity.

The sudden statement in October 1973 by OPEC (the organisation that grouped together the oil-producing countries) that there would be a 68% increase in the price of crude oil, added to the widespread sense of

320

hopelessness. The announcement was followed by

stones, these models featured objects with geometric

an abrupt halt in economic growth both in Europe

designs, reminiscent of the French Deco style, which were

and in the United States. Indeed, such a substantial

large in size and exaggerated in the contrast between

and unexpected increase had a catastrophic effect on

cheerful and new colours. To the Italian jewellery designer

the Western countries, which, devoid of oil resources

Bulgari we owe the best jewellery ever created in neo-

themselves, were effectively held economic hostage by

Deco style. Their stylised flowers brooches of jade, coral,

crude oil producers, whose countries suddenly found

and brightly coloured enamel were cleverly composed to

themselves flooded with money. Among these were

bring out the contrasts. Bulgari’s necklaces, made with

the states of the Persian Gulf, which from that moment

pendants pavé-set with diamonds, were either collars or

onwards became the centre of unbridled consumerism;

sautoirs similar to those from the beginning of the century.

jewels became very much in demand as the symbols of

Looking to past styles was a recurrent theme throughout

power and wealth.

the 1970s, both in fine and fashion jewellery.

Famous jewellery houses manufactured large jewellery

The recession affected the whole Western hemisphere.

pieces for their Arab customers. Complete with valuable

The economic uncertainty of the early 1970s and the

321

376

Opposite page, from top: Three cuff bracelets Unknown maker for Patricia Von Musulin, USA, c.1985 Gilded silver; silver; gilded brushed silver Signed: “Von Musulin Sterling” 12 x 1.7 x 2.7 cm Pair of cuff bracelets Robert Lee Morris, USA, c.1980 Gilded metal; silver Signed: “Robert Lee Morris” (bracelet on left); “Robert Lee Morris 925” (bracelet on right) 14 x 4 x 2.2 cm

This page, from top: Brooch with pendants Steve and Anita Vaubel, USA, c.1980 Hand-worked gilded metal Signed: “Vaubel” 8 x 4.4 x 1.3 cm Cuff bracelet Wendy Gell, New York, USA, 1983 Brass sheet covered with glued decorative elements: crystal stones, rhinestones, three elements in cut steel, burnished metal studs, metal spheres Signed: “Wendy Gell 1983” 13 x 4.1 x 1.3 cm

377

Deanna Farneti Cera worked for several years as

Adorning Fashion

DEANNA FARNETI CERA

Vice-Director and Curator at Bologna’s Municipal Museum of Modern Art. In 1991 she organised the exhibition ‘Jewels of Fantasy’, which opened in Milan, and went on to tour several European and American Museums. She is the author of many books on

The History of Costume Jewellery to Modern Times

jewellery and costume jewellery, among them Costume Jewellery (ACC, 1997), The Jewels of Miriam Haskell (ACC, 1997) and Fashion Jewels: Coppola e Toppo (ACC, 2009).

Jugendstil, Art Nouveau, Art Deco and each decade of the 20th century to the 1980s – are richly To see the full catalogue of books published by

illustrated and reviewed within the context of their social history. Chapters include expert information

ACC Art Books, please go to our website:

on manufacturing methods, materials, and the best designers and manufacturers, such as Gripoix, Goossens, Degorce, Max Boinet, Roger Scemama, Roger Jean-Pierre, Mitchel Maer, Trifari, Coro,

www.accartbooks.com

Eisenberg, Joseff, Kenneth Jay Lane, Coppola e Toppo, Giuliano Fratti, Miriam Haskell and Marcel Boucher, among others.

ACC ART BOOKS Sandy Lane, Old Martlesham Woodbridge, Suffolk IP12 4SD, UK

Adorning Fashion

glimmer to the high style of modern times. The trends of each era – Victorian, Edwardian, Arts & Crafts,

The History of Costume Jewellery to Modern Times

This authoritative and encyclopaedic study presents the evolution of costume jewellery from its first

Adorning Fashion The History of Costume Jewellery to Modern Times

From pinchbeck, the first credible imitation gold, to paste, to the iridescent shimmer of aurora borealis rhinestones… throughout history, faux jewellery has found a way to adorn women without the expense of diamonds and gold. Originating in mid-1700s England and then spreading to the rest of Europe with the rise of the bourgeoisie, bijoux d’imitation was an affordable alternative to fine jewellery. Chanel and Schiaparelli both embraced the concept of “fabulous fake”, making costume jewellery a must for every elegant woman.

As haute couture gave way to custom-made outfits, couturiers and then fashion designers often chose to

DEANNA

FARNETI

CERA

create their own accessories, giving rise to “fashion jewellery”. And as women’s roles changed in society, so costume jewellery developed its own style and became an artform in its own right.

Front cover: Jean Shrimpton wearing Festoon collar necklace, Unknown maker, France, 1963 Glass fire-polished beads linked by hand Photograph by John French 1963 © John French / Victoria and Albert Museum, London

Tel 01394 389950 Email: uksales@accartbooks.com ACC ART BOOKS 6 West 18th Street, Suite 4B New York NY10011, USA Tel 212 645 1111 Email: ussales@accartbooks.com

ISBN: 978-1-78884-047-7

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£60.00/$85.00

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Back cover: Floral motif brooch attributed to Christian Dior Unidentified maker (H.G.), France, c.1950 Silver and hand-set rhinestones, central glass paste stone (imitation emerald) decorated with a small rhinestone pin Marks: boar’s head; “H.G.” in a lozenge with an illegible figure