Jewelry Through the Ages

1. M O D E R N
J E W E L R Y T H R O U G H T H E A G E S
RETRO
J E S S I C A A B D U L N O U R

2. WORK
YOUNG DESIGNER AT
Our family jewelry store was established in
1989, in the same location it stands today. My
parents built their business and their family
almost simultaneously. Its probably safe to say
that without one, there couldn't be the other.
Some of my fondest childhood memories are
held within the walls of that store - helping
customers, cleaning showcases, and the best
part - playing dress-up. Being a child, I was
usually only allowed to play with the estate
jewelry pieces ("junk jewelry" or "trade-ins")
that didn't have any retail value - but held
endless possibilities for me. To put it simply, I
fell in love. These old pieces of jewelry could
transform me into a glamorous actress or
beautiful bride like the black and white image
of my grandma on her wedding day. The
pieces that most fascinated me, were the
designs that most resembled the jewelry that
my grandma acquired during her honeymoon
to Italy in 1961. Today, it is known as the
"Retro Modern" era of jewelry (mid 1940's -
mid 1960's)
Cartier Panther
1961

3. Luxury
THE RETURN OF
Two separate forces are credited with
inspiring the movement toward retro
jewelry design. Following the end of
World War II, designers were granted
access to use of materials that were
previously rationed for use to support
the Allies. Consumers were also
demanding products that portrayed
luxury and opulence. Americans,
specifically, had a new standing in
world politics as the new world Super
Power, and were eager to show off
their new found influence
and wealth. In 1948, De Beers Co.
(which holds a monopoly over the
diamond market to this day) unveiled
their "Diamonds are Forever"
campaign. This iconic slogan
established the "two months salary"
rule of thumb in purchasing
engagement rings. National diamond
sales tripled within the decade and
fine jewelry became a staple within
the American household.
DeBeer's "Diamonds are Forever" Ad
1948

4. Harry Winston - Sunflower
1950
Jewelry historians have only just begun to recognize and define the jewelry of the
40's. Historically, it is difficult to discern any sense of style. During the war, many
jewelry companies were forced underground, disbanded, or completed eradicated.
The war however, did serve to inspire the american fashion scene by bringing over
aesthetics and design techniques primarily from France and Italy. Following the war,
it became difficult to pinpoint one style because of the surge of diversity in jewelry
design. However, there are certain important trends that re-occur between the late
1940's to early 60's that give it a distinctive character.
The most defining characteristic of jewelry from the retro era was the almost
ostentatious use of gemstones. The desire to display opulence funded many
expeditions to find more minerals and materials. It was during this time that
gemstones such as citrine, topaz, and amethysts became popular. Not only were the
use of gemstones in demand, but different cuts were also desired. Cabochon, beads,
and rough tumbled gems also experienced a revival. Diamonds of course, were the
forefront in design, marketed to all income levels. In 1954 De Beers instituted the
annual Diamonds Interaction Awards to encourage the use of diamonds in design.
The second characteristic focused on flexible settings - pioneered by American
jeweler Harry Winston. The demand for exquisite luxury inspired designers to use
flexible wire settings to allow the gemstones to be the highlight of the piece and
allowed for easy wear. In essence it would allow the jewelry to bend and fold without
breaking the piece. It moved with the wearer.
DESIGN
A NEW

5. DESIGNERS
THE LEGENDARY
Jean Schlumberger became a head designer for Tiffany and Co, in 1955, where he
quickly set the precedent for personified jewelry design. He characterized the
jewelry design movement with colorful, creative, and individualized pieces that
would dominate the style of the decade. Bvlgari, Piaget, and Graff are three brands to
carry on his legacy in style. He used a variety of color both in stones and metals,
while playing around with texture. His most famous signature however, was playing
with both natural and geometric shapes to create unique, three dimensional pieces.
Fulco Santostefano della Cerda, Duke of Verdure lead the opposing view in terms of
style. His belief followed that jewelry should enhance, not overwhelm the wearer.
His designs tended to show a more subtle elegance. Some common motifs included,
ropes, tassels, and influences of nature. Van Clef & Arpels and Cartier, have both
branded their name with rope designs, and animal inspiration respectively.
Jean Schlumberger for Tiffany
1959

6. ICONS
THE JEWELRY
Audrey Hepburn
1961

7. Jewelry is one of the few material objects that are passed down from
generation to generation that still holds monetary value. But more than that, it
signifies and identifies the owner. Its an identifier to who we are and how we
portray ourselves. Jewelry from the "retro" era, not only identified the
individual, it identified a nation - a whole new outlook on life. It echoed the
sentiments of innovation, prosperity, and ideology that characterized the time
period. The designers of the era, were not only tasked with creating beautiful
and
desirable pieces, but also to create
artwork that would exemplify the
hope for a better tomorrow. The
consumer base grew because it
echoed the belief that anyone could
lavish themselves with luxury. It
wasn't just a sentiment, but a reality.
Consumers had a bigger disposable
income, they had survived two world
wars, and a decade long depression,
and they were eager to start
enjoying, rather than just surviving.
Fashion icons such as Audrey
Hepburn, and Elizabeth Taylor are
just two fashion icons that preserved
this sentiment with their iconic
jewelry. I am not crediting their
jewelry for their success - but their
jewelry left almost as big as a lasting
impression as they did. Their success
as actresses, and their positions as
fashion icons influenced not only the
era, but lasts until today.
Elizabeth Taylor
1960

8. style
A LEGACY OF
Cartier
1954
The retro era was a personification of the times. Freed from the horrors and
constraints of war, artisans and consumers were allowed to explore their
creativity and indulge in the lap of luxury. It completely revolutionized the
standard for whom jewelry would be designed for. It was no longer exclusive to
the fabulously wealthy, but available to all socio-economic classes. The De Beers
campaign opened up the doors for the average consumer and thus allowed us,
in the 21st century, to express our tastes through fine jewelry. Innovation and
technology opened the doors to a world of color through new gemstones, and
changing the role of metals to allow for flexibility and design thanks to Harry
Winston. Lastly, the retro era allowed for creativity and individualism. Without
it, jewelry would still be following a set level of strictures and antiqued method
of creation. The power houses of today's jewelry market (Tiffany and Cartier,
etc.) would still be exclusive institutions catering to a small portion of the
economy. In short, without the retro movement, we would be stuck in the past,
with very little variety, and with no desire to push the limits of creativity.
Without it, I wouldn't have been able to play dress-up, picture myself as a
glamorous lady, and grow up to believe that with enough work, it could be true.