Today's post investigates the costume jewelry associated with two renowned design houses: Schiaparelli and Chanel. As we discussed in our post on Kenneth Jay Lane's starburst brooch, costume jewelry became an important component of fashionable dress during the 1920s. Though it had long been possible to imitate the appearance of gold or precious stones with glass paste or pinchbeck, beginning in the 1920s it was acceptable to flaunt jewelry made from inexpensive materials like glass, plastic and non-precious metals. In 1923, the New York Times noted a recent proliferation of shops devoted to costume jewelry, "all displaying a bewildering layout of necklaces, pendants, earrings, bracelets, [and] brooches" made from semi-precious stones and other inexpensive materials.1 Popularized by Parisian couturiers like Patou, Chanel and Schiaparelli, inexpensive costume jewelry soon adorned even those women who could afford the real thing.
Couturiers did more than simply promote costume jewelry. Many couturiers, including both Chanel and Schiaparelli, were closely involved in the design of costume jewelry to complement their haute couture collections. By designing jewelry to complement a particular collection, couturiers ensured that their clients' accessories and dress were aesthetically aligned. Offering branded products like perfume and costume jewelry also promoted the namesake couturier. These less-expensive products also brought the glamour of the haute couture within reach of the less-affluent consumer, who could possibly purchase a necklace or fragrance from Chanel or Schiaparelli, but not an entire ensemble.
Bracelet
c. 1955
Schiaparelli
Gift of Barbara Bundy
2006.37.10