Design Trends in Jewellery

Trends in jewellery design are a fascinating study of bridal jewelry. They recall an entire period and recapture much of the atmosphere of the time. The Georgian period was essentially feminine. Much of the jewellery set out to flatter slender necks, complement well-formed ears and emphasise shapely hands. Ingenuity played its part in the make-up of the pieces.

An example of this inventiveness can be seen in the 'tremblant' or trembling effect applied to the brooch and hair ornament. Movement was achieved by attaching the jewel, on a fine spiral spring, to its pin or clasp. The diamonds shimmered and caught the light, even when the wearer was sitting still. Quiet breathing was enough to activate the springs.The practical aspect of Georgian society is summed up in the way diamond jewellery was created as a whole but could be separated into sections, to form different pieces. Rowers were very popular in design and large blooms could be taken apart to become a set of brooches with matching earrings. A spray brooch could be formed by fastening the leaves together and smaller leaves could be linked to the scrolled stalks to make a necklace and matching bracelet.

Magnificent diamond pendant earrings were much in evidence and reflected the design of the huge bridal diamond jewellery, necessary to light the ballrooms of this particular period. Diamonds were also used in the tiaras, or fenders, as they were called in Georgian times. Leaves, flowers and ears of wheat were other design bridal sets favourites.

Brroches design trends

Brooches were mainlv in the form of the marguerite or the rose. One lovely example of a rose has topaz petals, emerald leaves and ruby-set buds, but diamond bows and feathers were also popular. At the beginning of the 18th century designs were rather formal and representational, but towards its end a more naturalistic style developed so that the flowers looked as if thev might be real, with a textured stem and even a tinv dragonfly or butterfly hovering above them.

Long Pearl Design Trends

Long strings of matching pearls were also fashionable, not always worn simply around the neck, but on occasions knotted on the shoulder and casually worn across the body. Chokers rarely encircled the neck completely and were secured at the nape by a bow of velvet ribbon: a flattering way with neckwear for the very young with swan-like necks.

Gold chatelaines were widely worn hooked to the dress. From these decorated plaques hung chains from which were suspended such objects as a seal, a watch, a key, a writing tablet and even a miniature sewing set. Essentially practical, this type of jewel was worn only during the day.

Rings Design Trends

Rings were a favourite form of jewellery, a characteristic design of the time being the single stone or cluster in a cupped setting, the shank and shoulders deeply chiselled with scrolls. Anticipating the eternity ring of the present day, diamonds were set round a simple hoop and emphasised the elegant white hand of the 18th century Court Lady. After 1760 there was an innovation in ring design. This was the 'marquise', shaped like an oval with pointed ends. It could have one coloured stone, probably a ruby or sapphire, surrounded by diamonds or have an enamel background possibly set with a single bridal jewelry or pearl.

Diamonds were undoubtedly the favourite precious stone of the Georgian period but other gems used in ornamental motifs included the topaz, the amethyst, the garnet, the opal and the peridot.

Towards the close of the 18th century Wedgwood cameos were an important contribution to new jewellery styles of the era. Of hard paste, made from black basalt and jasper, the subjects were mainly classical scenes on Greco-Roman lines.
The Victorian period saw a bewildering array of design in jewellery, partly due to the Industrial Revolution and the increased prosperity of certain stratas of society. During the early part, the designs were delicate and imaginative, borrowing from the
Renaissance, the Middle Ages and the natural world. Seed pearls were woven in and out of demure hair styles and later combined with various gemstones such as amethyst, garnet, cornelian and opal — to form rings, brooches, bracelets and earrings. The serpent theme, dating back to Roman times, was popular; indeed Queen Victoria's bethrothal ring was of that design. Gold tassel jewellery was favoured around the 1840's; this arose from the Algerian Wars then raging, when the soldiers' uniforms were embellished with this type of decoration and so gold tassels were adopted as a fashion note.

Victorian Design Jewelry Trends

After 1860 Victorian taste was much occupied with Gothic architecture and this was reflected in the jewellery, massive gold pieces of geometric precision being popular. Queen Victoria's passion for Balmoral Castle led to the popularity of grouse claws and dirks as brooches, set with amethysts and cairngorms. Whitby jet was carved and used in jewellery from about 1800, but reached its peak of popularity after the death of the Prince Consort in 1861, when mourning became more overt. This was the time for 'memento mori'; a lock of the departed's hair was encased in a brooch, under glass, for all to see, or intricately woven to form a pattern for a brooch.
The mid-Victorians were besotted with designs in gold representing birds, bees, butterflies and dragonflies, all set with gemstones of the period. Even the unlovely house-fly was enshrined as a brooch. The wings glittered with rose diamonds and the body was set with green peridots.

Garnet rings, in a dome shape, with a golden star or tiny seed pearls inset, were very much of the period. Turquoise and coral were two favourite gemstones. Small girls wore coral earrings and necklaces in an attempt to copy their older sisters in the large families of that time wanted to design your own engagement ring.

From 1885 to 1901 there was a return to the more delicate approach to jewellery. It was worn discreetlv and diamonds again came to the fore. Other gems were muted to offset the diamond brilliance and included pearls, opals and moonstones. These last were considered lucky and sometimes were carved into cherubs, hearts, crescents and suns.

Edvard VII Design Jewelry Trends

During the reign of Edward VII, imposing diamond jewellery set in gold was much in evidence. A long, narrow diamond necklace supported, for example, an impressive cross, pendant or tassel, also set with mens diamond wedding rings. Magnificent tiaras were taller, so that the diamonds caught the light, while enormous shoulder knots and floral sprays were the perfect setting for the larger diamonds.

Owing to technical advancements in the working of platinum, this precious metal began to be used widely. Because of its strength it could be used in particularly fine and delicate designs, and a lattice effect was among the most popular. Platinum was not hallmarked until the Hallmarking Act of 1973, implemented in 1975, when it took its place alongside the other precious metals.

Few significant innovations were made during the years 1914 to 1918, with one notable exception, the introduction of white gold. Experiments had been made, covering many years, but it became a commercial possibility during the war years when money was scarce
and platinum too costly. It is interesting to note that gold when mined is yellow. The colour however can be varied by the addition of various metals, to produce the required carat content and appropriate colour. With white gold the proportion of silver or palladium is increased and in the case of red gold there is more copper added.

Design Jewelry Trends in the Twenties

With the twenties there emerged a whole new movement which influenced architecture, furniture, dress   and,   of course,   jewellery. The standard of craftmanship was quite exceptional, with the emphasis on precision. Jewellery designs were flat and markedly severe. The geometric shapes had a cut-out background, with the spaces playing their part in the over-all concept. To demonstrate the careful workmanship, in some cases gems such as sapphires and rubies were specially cut to fit into the open parts of the pattern.

Until the fifties there was a return to the more three-dimensional approach, with rather florid scroll or floral designs, usually of diamonds. A fashion note of the time was the single dress clip of diamonds, but occasionally using emeralds, sapphires and rubies. This particular feature developed into a double dress clip. Worn together as brooch, or singly as clips on either side of a neckline, these elaborate jewelled accessories were again mainly of diamonds. Two-coloured golds made their appearance and also gave depth to designs. Featured in brooches, red and yellow golds were either highly burnished or had a matt finish. For added decoration, rubies were chosen to offset the rich qualities of the precious metal.

Haute Couture and Jewelry

The early fifties saw some interesting fashion ideas for jewellery. In haute couture precious stones were used as buttons, even on fine tweed dresses. Focus was placed on the fashionable nipped-in waistline with jewelled belts sewn with seed pearls, turquoise and crystal beads. Chokers were featured widely: they could be of gold, three of four rows of pearls or even a broad band of precious stones. Long pendant earrings were also popular. An upsurge of interest in pierced ears made it possible to wear the fashionable, heavier type earrings. Brooches became more versatile and were used with ingenuity to decorate hats, lapels and waists.

owards the end of the sixties the natural gem crystal, uncut by the lapidary, became extremely popular. Used in rings and organic-type pendants, the gold or silver settings were claw-like and minimal. A selection of agate, amethyst, citrine, tourmaline and malachite was among the gems that showed varying degrees of the same colour, to make an arresting piece of jewellery.

As the seventies progressed, settings began to become an integral part of the whole design. In order to promote a proper harmony, precious metals and gemstones were equally balanced. Another interesting change was the way that extravagant jewellery fashions of the late sixties and early seventies gave way to a more restrained and wearable approach to design, better suited to the strains and pressures of the time.

As is traditional, jewellery design, today, exploits the prevailing technical abilities within the craft, so that art and the practical approach are inextricably combined to produce an adornment that is a visual delight.