From the Egyptian Revival jewels
of the mid-1920s and early 1930s, to the gold chain necklaces of the 1940s, the
fashioning of jewelry to accommodate modes of dress in the 20th
century certainly mirrored political, social, and especially artistic trends. The
excavation of Tutankhamun’s tomb in 1922 spurred the incorporation of Egyptian
and stylized Oriental motifs in earrings, brooches, and necklaces. This
exceptional necklace offers an idea of the exotic Egyptian-inspired works meant
to grace the body with unique and eye-catching decorations.
The theme can also
be observed in the following Miriam Haskell piece, which connects the 1940s
draping gold chain motif design to a pharaoh’s mask and a carved scarab
pendant. Fashions fluidly adapted to the times throughout the decades, and
costume jewelry provided an affordable way to follow the changing styles when
precious stones were not within one’s means.
Another
early 20th century movement which produced remarkably ornamented pieces
of jewelry was Art Nouveau. The sensuous elements and the intense elaboration
of the designs varied by country, yet the characteristics of the Art Nouveau
style are unmistakable. Curls, coils, and romantic, symmetrically curved
designs marked many of the unconventional necklaces, brooches, and pins
produced throughout this period. Semi-precious stones also experienced
popularity within the ornate designs. This was naturally dependent on consumer
preferences and was also arguably proportionate to the growth of the Art
Nouveau trend. The following two pieces demonstrate the primary facets of Art
Nouveau’s signature distinctions. In the first, sinuous flowers and leaves connect
to a lattice motif and frame a rectangular amethyst glass stone. The size of the pin suggests a versatility of use for a variety of dress styles and
accessories.
The second piece provides an example of three carved stones set
within gracefully curving flowers and leaves. This intricate circular design
rests on an ornate geometric background. The similarities and differences
between these pieces illustrate the diversity of Art Nouveau jewelry.
Art
Deco designs were also quite popular in the 1920s and 1930s, with their staged,
geometrically sharp lines and the controlled, formalized motion of the
jewelry’s focal point. Travel and exoticism were widespread themes for the designs,
some of which included symbols of speed, transportation, and luxury, or
alternatively, ancient historical motifs.
While this greyhound pin is from the 1960s/70s, the trend to use
greyhounds or gazelles to signify fast and nimble animals dates to the 1930s. Pins
and brooches in particular were produced to characterize the excitement of
victory and speed on the racing track, often times with precious stones set
within the geometric background. This motif is present on the rhinestone-studded
blanket which has been placed on the greyhound’s sharply pronounced back.
Brooches made in chrome and enamel, or plastic, were widely produced as well. In the
United States, Art Deco jewelry was greatly shaped by Hollywood style, with
artificial replacements for precious stones, and often restrained in color but
glamorous in choice of background metal.
Although
these artistic trends had unique characteristics, they continued to influence
designs throughout the latter part of the 20th century. The rise of
abstract, geometric patterns contributed to the emergence of a strikingly
distinctive modernist style. Less ornate jewelry, with a more simplistic
emphasis, became available in many materials, which provided increased accessibility
to these trends for the general public. Modernist jewelry would come to be
defined by soft abstraction, forgiving geometry, and understated sophistication.
Perhaps this was an amalgam of complementary details, inherited from its
diverse early roots.
-Blog post contributed by Ivayla Ivanova
