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| 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attire of the older generation was superseded by the carefree casual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.
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.
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.
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| 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.
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.
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.
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.
Other companies worked with new designers to add contemporary designs to their range. Trifari's association with Diane Love was particularly successful.
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.
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| 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.
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.
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| 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.
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.
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.
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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