The Rebellious Revolution of 1970s Trends by Paige McKirahan

Building off of the revolution that began in the late’ 60s, the 1970s transformed the fashion industry in a way that had never been seen before. The diversity in style and allowance for self-expression opened the door for a decade that was not to be confined by one single trend, rather a mix of them ranging from hippie to punk. Pop Art and psychedelic themes continued to prevail, with touches of Art Nouveau and Edwardian flair that created a sense of stylish nostalgia. People felt a new sense of freedom after the Civil Rights, women’s liberation, and gay liberation movements as they lead to social dictates being broken and elite fashion house’s influence to falter.

The antiwar movement and arrival of two totally new music genres pushed boundaries, creating a division in style and entirely new aesthetics. Some may credit this decade for birthing androgyny as men and women truly began sporting similar styles in everything from pants to makeup. Cross dressing truly saw a new appeal with the now accepted sexual awakening, finding inspiration within the Rocky Horror Picture Show’s charming look at androgynous glamour. The seventies also birthed the disco era where pop groups like Abba captured the attention and affection of youthful audiences. Saturday Night Fever was an iconic display of this period’s trends and when paired with David Bowie’s outrageous style, glam rock became its own fashion genre.

Rocky Horror Picture Show screengrab

(image credits to nonada.com)

The Disco movement was met with anarchy when the punk movement arrived; a group of young people who defined themselves as anti-fashion were committed to cutting up and destroyed old clothing to be repurposed. Doc Martens, an influx of piercings, chains, and colorful hair typically accessorized this look that was completely polarized from the disco aesthetic. Tarten, checkers, leather, studs, and deep hues defined this style and though they wanted to be anti-fashion, they created a mainstream trend of their own. This punk approach was directly correlated with rocker music styles becoming grungier and taboo. The Sex Pistols shot to fame and their manager, Malcolm Maclaren, married iconic designer Vivienne Westwood and created a shop that clothed the band as well as the public in popular punk inspired fashions.

Designer Vivienne Westwood punk style

(image credits to pinterest.com)

The coveted miniskirt was still in style, but it wasn’t as essential to this decade in the same way it was in the ‘60s. As women began dressing more freely, they had more power to choose and mix silhouettes on a daily basis without backlash. Mini, maxi, and midi skirts, hot pants, and high-waisted bell bottomed jeans were all worn without restriction. A huge source of inspiration for this decade’s styles is New York City’s Studio 54 with long floating fabrics and batwing sleeves, starkly contrasting the tight fitting hotpants. New synthetic materials like rayon, polyester, jersey, and blends allowed for knock offs of high end designs to appear in departments stores, giving the everyday woman a chance to inexpensively up her style. Denim truly developed during the ‘70s and Levis jeans with extremely tight waists became a hit with both men and women.  Body suits were en vogue as layered styles prevailed; the pieces could be leotard style or full lengths cat suits and were staples in the disco scene where ease of movement was key. Dian von Furstenberg’s 1971 wrap dress was a cult favorite as a versatile piece that was appropriate for all body types and occasions. Yves Saint Laurent pioneered popular peasant motifs with skirts gathered into tiers and dropped should lines that pair perfectly with leotards.

Designer Yves Saint Laurent in 1974

(image credit to catwalkyourself.com)

Jewelry and accessories in this period we all about making a statement. Layering thin necklaces was all the rage and pendants were large and attention grabbing. More natural materials came into circulation, particularly wood, stone, shell, and bone that complimented ethnic and bohemian style. Pieces adorned with fur and pearls with popular and worked well with the abundance of styles and interest in texture. Cocktail rings and dangling earrings were still popular from the previous decade, thriving with the rise of disco glam. Elsa Peretti dominated the jewelry industry, creating iconic designs like the Bone Cuff and Open Heart Necklace for Tiffany & Co. in the mid-seventies. These two styles remain popular, along with the Cartier Love Bracelet that can be seen on every starlet’s wrist from 1970 to 2018. The Bulgari Monete necklace was loved by Susan Sarandon and Jane Fonda; the collection featured Grecian and Roman motifs that were reminiscent of the designers home country and held real coins from those locations.

Bulgari Monete Necklace

(image credits to worthy.com)

Icons of this decade are not hard to identify as flamboyant personalities shone through brightly in their personal style and appearance. Debbie Harry was a true punk icon; the lead singer of the band Blondie had two-toned bleached hair and a rebellious aesthetic that screamed antiestablishment. Bianca Jagger, the first wife of musician Mick Jagger, was a socialite and lover of all things seventies glam. She was commonly seen in long hooded dresses and jumpsuits with her close friends Andy Warhol and supermodel Lauren Hutton, both of which are ‘70s icons that roamed the grounds of Studio 54.

Though it seems that the ‘80s and ‘90s are going through a major modern revival, don’t think that the 1970s are far behind. In fact, many of the trends birthed in this decade have remained in style since their conception; punk chic has never gone out of circulation and denim still is a closet staple. Bell bottoms and high-waisted styles paired with flatforms are favorites of influencers and look great paired with the timeless Cartier Love Bracelet. Whether you’re feeling punky or funky, we have something in our eclectic collection that will revolutionize your style!

"Fashion Flashback: Bracelets" written by Morgan Watkins

One of the oldest pieces of jewelry known to man is the bracelet. Worn and adored by cultures far and wide, bracelets can be tracked back tens of thousands of years. But how did some of our favorite styles come to be? Read on to learn more about bangles, charm bracelets and other beloved arm candy.

Initially, bracelets were made out of a variety of natural goods such as stone, twigs, feathers, horns, teeth, and even insect secretions. In 2008, archaeologists discovered a stone bangle that could be as old as 70,000 years. Researchers believe that an early human species known as the Denisovans crafted the ancient piece.

(Image from https://www.dailymail.co.uk/sciencetech/article-4753746/Scientists-believe-stone-bracel et-70-000-years-old.html)

Other bangles have been found within tombs and other ancient ruins all over the world, ranging from Mayan stomping grounds to Roman ones. In Indian cultures, glass bangles are customarily worn by brides to represent safety and a prosperous marriage. These glass accessories are worn for life; they’re only broken or removed in themselves with wrist cuffs constructed from leather and metal, while also wearing upper and lower arm cuffs for ornamental reasons. Snake inspired bangles which coiled around the wrist were en vogue, until bracelets lost popularity in the Middle Ages, when Christian and Catholic ideals claimed the wearing of jewelry to be an act of shameful vanity.

(image from www.talkingfashion.net)

This religious mindset humbled individuals around the globe until the Renaissance rolled around. While men were less likely to be seen accessorizing with bracelets at this time, European women insisted on bringing the ornaments back into style around the late 16th and early 17th centuries. Cameo bracelets depicting images of gods, deities, animals, landscapes and more were on trend, and by the Victorian era, so were charm bracelets. Charm bracelets were originally introduced by Egyptians in ancient times. The charms were said to be magical, providing luck and protection to the wearer.

(image from www.talkingfashion.net)

Around 500 BC, Persians and Babylonians also wore charms for their special powers. But it was Queen Victoria, who wore a gold chain adorned with lockets containing portraits her family, who initially revived the wristlet. The charm bracelet became known as jewelry that was not only charming and elegant, but also an accessory that held personal meaning and significance. From that template came new ideas for charm bracelets, like the cha cha, which is adorned with beads rather than traditional charms.

(image from www.talkingfashion.net)

Like Queen Victoria’s charm bracelet, friendship bracelets also carry themes of love and loyalty. Indigenous people from Central and South America are said to be the inventors of the friendship bracelet, which was constructed by weaving together colorful threads, beads, shells and more. The traditional wearing of friendship bracelets is sacred, for the creator puts a considerable amount of love and hard work into the completion of the wristband. Once the bracelet is tied around the receiver’s wrist, they are allotted one wish which will only be granted if the band is worn until it slips off naturally. Removing the bracelet manually is a sign of a failed or broken friendship, and whatever wish the receiver may have made will be forgotten. The return of the friendship bracelet took place during the 70s, when peace, love and anti-war were common social themes and weaving became a fun craft for kids and teens alike.

(image from www.talkingfashion.net)

It was during the 20th century that bracelets, like other pieces of jewelry, became more affordable due to increased production. Lines were more refined and simplified in comparison to earlier designs as Art Deco influenced fashion. Slim, plastic bangles, wide cuffs, dainty chains, and charm bracelets made of gold-plated brass and sterling silver were popular styles worn by women far and wide. Men even started donning bracelets once more, opting for edgy sterling silver chains.

(image from www.talkingfashion.net)

From the Denisovans to the Chloé runway, the bracelet is the 70,000 year old accessory staple that is constantly being made new in fashion.

(Image from http://www.vogue.it/en/shows/show/collections-fall-winter-2018-19/chloe)

References: “History of Bracelets.” Overstock. Overstock.com, Web. “Oldest Obsidian Bracelet Reveals Amazing Craftsmen’s Skills in the Eighth Millennium BC.” Phys.org. Science X Network, 2011. Web. Stewart, Will. “World’s Oldest Known Stone Bracelet Could Rewrite the History of Early Man: 70,000-Year-Old Bangle Suggests Our Ancestors Were Far More Sophisticated than Thought.” Daily Mail. Associated Newspapers Ltd, 2017. Web. Trautmann, Julianne. “Bracelets.” LoveToKnow. LoveToKnow Corp, Web. Wheat, Michele. “All About Friendship Bracelets.” Wristband Resources. Wristband Resources, Web.

Elsa Schiaparelli was an Italian fashion designer who, along with her rival Coco Chanel, is regarded as one of the most prominent figures in fashion between the two World Wars.

Schiaparelli was born in 1890 and raised in Rome, Italy. The cultural background and erudition of her family members served to ignite the imaginative faculties of Schiaparelli’s impressionable childhood years. She became enraptured with the lore of ancient cultures and religious rites. The content of her writing alarmed the conservative sensibilities of her parents, so they sought to tame her fantasy life by sending her to a convent boarding school in Switzerland. Once within the school’s confines, Schiaparelli rebelled against its strict authority by going on a hunger strike, leaving her parents no alternative but to bring her home again.

Schiaparelli was dissatisfied by a lifestyle that was refined, but ultimately cloistered and unfulfilling. Her craving for an exploration of the wider world led her to try to remedy this and when a friend offered her a post caring for orphaned children in an English country house, she saw her opportunity to leave. The placement, however, proved uncongenial to Schiaparelli. She subsequently planned a return to the stop-over city of Paris rather than admit defeat by returning to Rome and her family.

She married a charlatan, whom she got engaged after one day of dating. They moved to NY in 1916 and their lives were followed by FBI and others suspicious of his career credits along and spy actions during war times. Soon after Schiaparelli and then husband Dr. Kerlor had their daughter in 1920, he left them behind. So, in 1922, she moved back to France with her daughter "Gogo". Schiaparelli relied greatly on the emotional support offered her by her close friend Gabrielle 'Gaby' Buffet-Picabia, the wife of Dada/Surrealist artist Francis Picabia.

Schiaparelli’s design career was influenced by couturier Paul Poiret, who was renowned for jettisoning corseted, over-long dresses and promoting styles that enabled freedom of movement for the modern, elegant and sophisticated woman. In later life, Schiaparelli referred to Poiret as "a generous mentor, dear friend."

Schiaparelli had no training in the technical skills of pattern making and clothing construction. Her method of approach relied on both impulse of the moment and the serendipitous inspiration as the work progressed. She draped fabric directly on the body, sometimes using herself as the model. This technique followed the lead of Poiret who too had created garments by manipulating and draping. The results appeared uncontrived and wearable.

Schiaparelli was also renowned for her unusual buttons, which could resemble candlesticks, playing card emblems, ships, crowns, crickets, or silver tambourines. Many of these fastenings were designed by Jean Clement and Roger Jean-Pierre, who also created jewellery for her. In 1936, Schiaparelli was one of the first people to recognise the potential of Jean Schlumberger, who she originally employed as a designer of buttons.

Schiaparelli's output also included distinctive costume jewellery in a wide range of novelty designs. One of her most directly Surrealist designs was a 1938 Rhodoid (a newly developed clear plastic) necklace studded with coloured metallic insects by Clément, giving the illusion that the bugs were crawling directly on the wearer's skin. During the 1930s, her jewellery designs were mostly produced by Schlumberger, Clemént and Jean-Pierre. 

Schlumberger's jewellery, with its inventive combinations of precious and semi-precious stones proved successful, prompted him to launch his jewellery business in New York at the end of the '30s. Schiaparelli also offered brooches by Alberto Giacometti, fur-lined metal cuffs by Méret Oppenheim, and pieces by Max Boinet, Lina Barrette, and the writer Elsa Triolet. Compared to her unusual couture 1930s pieces, 1940s and 1950s Schiaparelli jewellery tended to be more abstract or floral-themed.

 Schiaparelli also designed the wardrobe for several films, including Moulin Rouge in which Gabor played Jane Avril. She famously dressed Mae West for Every Day's a Holiday (1937) using a mannequin based on West's measurements, which inspired the torso bottle for Shocking perfume. 

Schiaparelli's fanciful imaginative powers coupled with involvement in the Dada/Surrealist art movements directed her into new creative territory. Her instinctive sensibilities soon came to distinguish her creations from her chief rival Coco Chanel, who referred to her as 'that Italian artist who makes clothes'. Schiaparelli collaborated with a number of contemporary artists, most famously with Salvador Dalí to develop a number of her most notable designs. 

The House of Schiaparelli was first opened in the 1930s at 21 Place Vendôme, but was shut down on 13 December 1954. The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often". Schiaparelli relied on inspiration rather than craftsmanship and, "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models".

Celluloid, Bakelite, and Plastic: What Are They and How Are They Different?

By Paige McKirahan

You walk into Barney’s New York with the intention of accessorizing for a night on the town and come to find bangles of all colors. They’re beautiful, light, and handmade. You wonder how normal plastic could look so elegant and check the tag, realizing it is made of vintage bakelite. What is this gorgeous material?

Celluloid and bakelite are vintage jewelry staples often mistaken for the normal plastics that are usually casted to make jewelry. These materials are among some of the first man made plastics on the market. Celluloid predates bakelite and was created in an attempt to win a contest calling for someone to create a substitute for ivory in the 1860s. Though it did not win the contest, its creator, John Hyatt, chose to begin a manufacturing company that used the plastic to create billiard balls. The problem, though, was that the material was flammable; it would create small explosions on billiard tables if the balls knocked together! It also constantly sparked fires in hot projection rooms on movie sets when used to create movie film. To identify this plastic, you don’t need to wait for it to accidentally catch fire; the easiest way is to rub the piece vigorously and smell it. If it is real celluloid, it should smell similar to a ping pong ball.

Now, when Bakelite emerged on onto the scene in 1909, it made a sort of different explosion. It became wildly more popular than celluloid because of the simple fact that it didn’t quite literally explode and was more lightweight. When it first came into circulation, it was used primarily for industrial purposes until it started becoming available in a variety of colors. This inexpensive material then became a huge favorite of jewelry makers and differs from regular plastic jewelry as it is hand carved or polished into its design. You can check to see if your bakelite isn’t an imposter by using the 409 test. You dip a cotton swab in 409, the common household cleaner, and touch a small area of the piece. Be sure to touch a part of the jewelry that will not be seen! If it is true Bakelite, it will leave a yellow stain on the cotton swab.

As a collector or simply a jewelry lover, it pays to know if you have a piece made with one of these materials as their value has only increased over the past few decades. Authentic pieces can sell for thousands of dollars and are coveted by many in the collecting community. So now that you know the what and how on celluloid and bakelite, we invite you to pull out your vintage pieces and start testing!

From the Rodeo to Rodeo Drive
by Paige McKirahan

For those from the country like me, Western wear has always been the norm worn by people in the community, on trend or not. Full denim outfits, leather, cowboy boots, fringe, large belt buckles, and flannels can be seen at any county fair on full display but now, those trends are stepping off of dirt roads and onto the runway.

This Western revival began a couple of years ago with a few '90s favorites coming back into circulation; black leather belts with shining horse buckles and suede for skirts and shirts alike were taken back out of the closet along with many other '90s trends as vintage became the “it” style. This fall, fashion is taking this Western interest and running with it after its success on the Spring/ Summer runways. Raf Simons, the new creative director of Calvin Klein, chose to go West for his first show with the label and it paid off in a big way. This nostalgic Americana look grabbed the attention of the public as Simons created a collection that embodied dark American history and horror inspired by films like Carrie and Midnight Cowboy. His full denim outfits adorned iconic public figures like Solange and A$AP Rocky, putting Britney and Justin’s 2001 American Music Awards ensemble to shame.

A$AP Mob for Raf Simons Western Calvin Klein Campaign

Celine, Versace, Chloe, Tom Ford, Alberta Ferretti, Coach, and Hermes are just a few of the other big names that saddled up and incorporated prairie aesthetics into their fall lines. Vogue and Harper’s Bazaar both go as far as naming Western one of this season’s most prominent trends. Capped cowboy boots, denim and plaid button downs secured up to the neck, saddle bags, snakeskin, and fringe are back, but always remember: keep it chic and keep it you.