History of Jewellery: (1940s-1950s) Retro

The War influenced the jewellery industry dramatically in style, technique and geographically. Paris had been the fashion capital of the world until the Nazi occupation in 1940. Over the next decade New York emerged as a new creative centre, with jewellery makers and designers fleeing war-torn Europe to the small island of Manhattan. Coco Chanel’s one time jewellery designer, Fulco di Verdura was one such European to re-camp to the USA. He created a dazzling array of jewels during this period with what was available, from shells found on the beach to US coins.

The remodelling of old jewellery into modernist designs was often the only way to create new pieces with precious stones as the supply of precious stones was seriously limited by conflict.

The emphasis on big square dimensions. Bold colour designs were favoured in an attempt to raise moral at a time of suffering and deprivation. As women’s clothes became more masculine and pared-down, jewellery also mimicked a military style. Cartier’s ‘V’ (for Victory) pins were one-such patriotic design produced in the period.

As a result of war-time rationing, platinum was scarce and even banned for jewellery making in 1942. Instead, gold became the metal of choice, with brass or plated silver substitutes becoming popular. Tiffany’s invented vermeil to give the gleam of gold to silver. Gold became thinner and was often mixed with other metals, particularly copper, to make amalgams with lower gold content. As a result, Retro jewellery is often unique in colour, as gold alloys varied in hue from rose to a greenish tint or bright yellow.

Rationing of precious stones and metals also encouraged designers to be inventive in their designs, incorporating unorthodox materials into their Fine jewellery. Shrapnel was adorned with small diamonds or semi-precious stones and set in 8ct gold, silver or palladium, to create jewels with great sentimental value; even if low material worth.

Popular stones of the period include, aquamarine, citrines, peridots, tourmalines and amethysts. These stones were commonly large and cut in simple square shapes to be worn as cocktail rings or bold necklace clasps. Enamel was a popular way to bring colour to jewellery and modern plastics such as Bakelite, cataline, and lucite were embraced to make large bead necklaces or colourful bangles.

Techniques, such as the snake chain or gas pipe coil were developed to give jewellery a chunky expensive appearance, yet use little gold. Bvlgari’s Tubogas collection are iconic examples of the technique. The simple outline produced in the continuous curved band was practical for women of all classes who were increasingly living more active, proffesional lives. Similarly, the tennis and belt-buckle bracelet were popular.

Jewellery from this period often maintained an air of modern chic mixed with a sentimental nostalgia. Motifs such as bows, ribbons, floral sprays and hearts, once popular in the Sentimental Victorian era, were revived. Charm bracelets and floral bouquet, winged or scroll ear clips worn high on the ear are also typical of the Retro period.

The major Parisian jewellery houses, Cartier and Van Cleef and Arpels still dominated, but were joined during by the American founded Tiffany & Co. and Harry Winston. Costume jewellery grew as a successful off-branch in the US during this time. Designers such as Miriam Haskell, Alfred Phillippe and the manufacturer, ‘Trifari’, mass-produced affordable, yet still high quality costume jewellery, which are still highly collectable today.