talkingfashion » blog
-
Jewelry Explosion from the Arts & Crafts Movement
Jewelry Explosion from the Arts & Crafts Movement by Morgan Watkins
There’s something about some good old fashion DIY-ing that can give you an overwhelming sense of pride and satisfaction. Getting down and dirty and creating things with your own two bare hands is a process that has fallen to the wayside as big name manufacturers have taken over that role for pretty much the entire world. But with the Arts & Crafts Movement came a surge of do-it-yourself individuals who wanted to take matters, and jewelry making, into their own hands. Want to learn more about this movement and its impact on the jewelry world? Keep on reading!
Starting in the later half of the 19th century, the Arts & Crafts Movement looked to bring back individuality and artistry. This era was comprised of people who saw the newly booming mechanical and industrial revolutions as a means of stripping away creativity and passion from the working class. Guildsman C.R. Ashbee took matters into his own hands and trained his fellow guildsmen on how to create their own handcrafted jewelry. The guild systems in general greatly rejected traditional jewelers and manufacturers, as did those who handmade materials for a living and lost their positions to machine driven factories. In general, the widely believed ideal was that goods should come from the hands of hard working peoples, notfrom cold and cruel factories with horrid working conditions. As jewelry making left factories and entered the household, married couples began making their own unique pieces together. Thanks to this change in dynamics, women were finally able to enter the jewelry industry, where they flourished and thrived. They were successful in designing, enameling and handcrafting arts & crafts jewelry, and often attended crafting and jewelry making classes in their leisure in order to improve on their skills.
(image from http://www.faycullen.com/blog/arts-crafts-movement/)While the value of jewelry is often gauged by the quality of materials used, like
gold and platinum, arts & crafts jewelry was regarded more for its unique, one-of-a-kind nature. Characteristically, accessories were assembled with cheaper, less frivolous goods like aluminum, copper, glass, freshwater pearls, and hand painted enamel. Stones, including moonstone, opal, turquoise, and amethyst, also graced arts & craft designs, complimenting the often dainty and delicate silhouettes popular during this time. Gold and precious stones, although rare, were used sparingly to accent more high end arts & craft jewelry pieces.
(Image from https://talkingfashion.net/collections/art-nouveau-and-victorian/products/victorian-antiqu e-art-nouveau-black-brown-confetti-wide-link-vintage-bracelet)
Necklaces, pendants, clasps and buckles were most commonly produced during the age of arts & craft jewelry. Stylistically, designs were quite dainty and elegant, but influence from all over the world trickled into the realm of the Arts & Crafts Movement. Japanese art translated onto tapestries, which featured floral designs and animal outlines which later appeared carved into metal jewelry. The Art Nouveau Era also had an impact on arts & crafts jewelry, which explains the interesting and greatly detailed silhouettes that were born from the late 1800s. Influence from Germany, Britain and even the Renaissance and Gothic periods also emerged during the heyday of handcrafted accessories, adding elements of glitz and glam to everyday pieces in an affordable way.
(Image from https://talkingfashion.net/collections/art-nouveau-and-victorian/products/copy-of-tbf-art-d eco-pearls-rhinestones-pin-brooch-vintage-jewelry)
Unfortunately, arts & crafts jewelry fell out of popularity around the 1920s and 1930s as it was overshadowed by the Art Deco Era. The designs were, then, deemed too fragile for everyday wear, as newer pieces were sturdier and just as affordable. With that being said, arts & craft jewelry is still available all over the web. Regardless of arts & craft jewelry’s simmered popularity, it’s never too late to start handcrafting pieces of your own! But if you would rather leave the DIY-ing to the pro-crafters, sites like Etsy and Poshmark promote creative craftsmanship, where individuals run their own virtual DIY shops. Similarly, talkingfashion.net has a wide array of Art Nouveau and vintage styles to shop around for, including dazzling bracelets and stunning brooches. Be sure to take a look and embrace the fun styles from the Arts & Crafts Movement!
References:
“Arts & Crafts Era Jewelry.” Antique Jewelry University, https://www.langantiques.com/university/Arts_%26_Crafts_Era_Jewelry.
-
Folk Art Influence: American Art Turned Fashion
Folk Art Influence: American Art Turned Fashion by Morgan Watkins
When you think of the term “folk art,” what comes to mind? Do you instinctively hum a tune by Mumford & Sons? Do you imagine paintings of rural lands or cows? Regardless of whatever conceptions you may have of folk art, there’s a lot to be said about its staying power in America and how it’s shaped artists and fashion designers alike. Want to learn about folk art and its impact on the fashion world? Keep on reading!Folk art was introduced to the eastern regions of America in the 1700s. Vastly talented artists, who were characteristically self taught, used a variety of mediums to communicate their surroundings to the people around them. Initially, these art pieces served as forms of income for individuals around the country. Paintings of landscapes and portraits were most common around this time, featuring simplistic techniques and styles that perfectly reflected this era. Portraits displayed fairly basic backgrounds but intensely detailed facial features and expressions. These creations also serve as a wonderful record of what the fashions looked like centuries ago, even if the paintings were simple. Landscapes depicted images of all scenery imaginable, whether that be the sea, forests, farmland or townships. By the 1800s, mourning paintings were quite popular, presenting portraits of lost loved ones and families weeping at funerals. Important life events in general, like weddings and births, were also documented via folk paintings.
(Image from https://folkartmuseum.org/exhibitions/a-shared-legacy-folk-art-in-america/)
Sculpture was yet another medium utilized by 19th century folk artists. The earliest American folk sculptures were carved from wood and perched upon the stern boards and figureheads of ships. These carvings mimicked female figures and were said to protect the ship. Cigar and tobacco shops also worked with folk artists to create lifelike signs for their businesses. Carvings of life sized Indians and soldiers were most commonly requested by shop owners, who set the self-standing sculptures outside the doors of their storefronts to attract customers.
(Image from https://www.skinnerinc.com/auctions/2258/lots/189)
One of the most common associations with folk art is quite arguably the patchwork quilt. The American staple was birthed from Amish communities in the 18th and 19th century Midwest, where resources were limited and winters were cold. These quilts served utilitarian as well as decorative purposes, as folk art can be either or. Another folk art attribute that was prevalent in quilt making especially is the concept of creating works with your own two hands. And while quilts, paintings and sculptures are all examples of art you can touch, intangible forms like music, poetry and dance also have their place in the realm of folk art.
(Image from http://amishamerica.com/hostetlers-quilt-shop/)
So how has folk art presented itself in the fashion world? Well, just recently, Raf Simons was celebrated by the American Folk Art Museum for the Americana quilt designs he created for Calvin Klein. And celebrating the 50 year anniversary of his brand, Ralph Lauren presented a collection dripping in folk art influence for New York Fashion Week Spring/Summer 2019. The designer claims that his collections and mood boards are birthed by American inspiration, listing American folk art as a specific example. Lauren’s American muse is clear in his patchwork designs, paired perfectly with folk-y patterns and fabrics like wool, plaid, and tribal print.
(Image from https://wwd.com/fashion-news/fashion-scoops/raf-simons-to-be-honored-by-american-fo lk-art-museum-1202770974/)
Above all, folk art is an outlet that has always been for the people, by the people. Although it started out as a means to make a living, folk art has evolved into a contemporary practice made for self expression and community bonding. Its inclusivity, patriotism and effortless attitude makes it an art style that will likely withstand the test of time, growing with us in fashion and other gorgeous art forms worth admiring.
(Image from https://www.bangstyle.com/posts/ralph-lauren-50th-anniversary-ss19-fashion-show-318 6)
References:
Aktar, Alex. “ Ralph Lauren Marks 50 Years at Star-Studded Central Park Show.” New York Post,8 Sept. 2018, https://nypost.com/2018/09/08/ralph-lauren-marks-50-years-at-star-studded-central-park-show/.
Lockwood, Lisa. “Raf Simons to Be Honored by American Folk Art Museum.” WWD,8 Aug. 2018,https://wwd.com/fashion-news/fashion-scoops/raf-simons-to-be-honored-by-american-folk-art-museum-1202770974/.
Sessions, Ralph. “Folk Art.” Scholastic, http://www.scholastic.com/browse/article.jsp?id=3754295.
“What Is Folk Art?” Museum of International Folk Art, http://www.internationalfolkart.org/learn/what-is-folk-art.html.
-
Folk Art in Fashion Culture: Folk Couture
Folk Art in Fashion Culture: Folk Couture
By Paige McKirahan
When evaluating the vast number of art movements that have influenced fashion and design for centuries, it seems like the list of inspirational aesthetics is never-ending. From Art Nouveau to Art Deco, we have seen the line between art and fashion become blurred; the Folk Art movement is no exception and has undoubtedly enjoyed its own transition into the fashion industry. So much, in fact, that the American Folk Art museum created an entire exhibit dedicated to this assimilation. The “Folk Couture: Fashion and Folk Art” show, which was first introduced in early in 2014, called upon 13 couturiers to create one of a kind designs that correlate with specific pieces in their art collection. The connection between the two may not always be overtly evident, forcing the viewer to truly consider the pieces and how they have similar characteristics. Yes, some specific motifs from the art that inspired the clothing piece are used, but there are no direct translations of the artworks incorporated into the pieces.
Jean Yu’s chiffon dress and its inspiration, Porcupine, created by David Alvarez in 1981
(photo credits to artnews.com)
Fashion may be the hook to reel in some visitors, but the pieces in no way overshadow the art; instead, they complement the work rather than distract from it. The designers chosen by guest curator Alexis Carreño to design and create these fashion pieces are overwhelming eclectic. Even if they do not normally design pieces with folk art in mind, they all had a great eye as to what aesthetics would transition well into fashion and wowed spectators with their work.
Art often envelops fashion and vice versa; we see this cannibalistic practice illustrated with folk quilts being made of clothing scraps and folk painters like Ammi Phillips looking to fashion in print for posing inspiration. In a city where fashion reigns and museums are always looking for ways to draw in patrons, the American Folk Art Museum proved that other New York museums can incorporate fashion into their galleries successfully (and without the help of Anna Wintour). Feeling inspired by folk aesthetics but not looking to create your own gallery-inspired piece? Check out our collections to find some accessories that are already made and ready for you to purchase!
-
Sustainable Jewelry: Horn and Tusk Accessories
Horn and Tusk Jewelry
By Paige McKirahan
Though there may be some controversy surrounding the use of animal materials in the fashion industry, this practice has been in place since ancient times. Decades before the presence of synthetic goods, these natural substances were the only available products that could be used in the creation of clothing and jewelry goods. What most people don’t know, though, is that these animal products typically don’t cause the death of an animal; the bone and tusks are usually taken from the animal after its death from other causes. The crafting of jewelry from horn and tusks is a longstanding tradition for native peoples, but why is this practice considered to be a sustainable one?
Firstly, these types of jewelry are organic; as the ancient crafting traditions have overall remained unchanged, they typically produce beautiful and unique pieces. Since they are naturally harvested, they will not have any chemical treatments and will be responsibly created. Horns are formed by modified skin tissue, giving the material a softer and more flexible composition. New layers of tissue are added to the base of the horn periodically, and its fibrous structure allows it to be broken down into thin, transparent sheets. Tusks, on the other hand, refer to the teeth of animals that protrude from the mouths of certain species of mammals. One of the most common types of tusks used in creating jewelry is that of ivory, which applies to elephant tusks. With a high market value, ivory is scarce and has highly desired properties regarding hardness and color. Ivory has a grainy composition, offering different surface effects and making it suitable for carving. Despite the fact that harvesting ivory now has negative connotations, we encourage the use of older ivories that were harvested safely rather than those that did harm.
To clean this type of jewelry, wash with mild soap and water on an as needed basis. Since horns and tusks are prone to splintering and are quite porous, do not leave them to soak in water or expose them to extreme temperatures. To maintain its smooth appearance, you should lightly polish your pieces as needed with jojoba or coconut oil. Looking to add some natural elements to your look? Find some of these sustainable products here at talkingfashion.
-
Symbolism & Style: The Diverse Jewelry of Africa
Symbolism & Style: The Diverse Jewelry of Africa by Morgan Watkins
Africa: a continent represented by diverse cultures, art and rich history. While it would be nearly impossible to put into words the beauty of this land, part of Africa’s charm can be appreciated through the jewelry created and worn by tribes and peoples across its regions. Saturated in vivid colors, constructed through various mediums and holding deep symbolism, African accessories are much more than strings of beads and copper wire. Keep on reading to learn more about Africa’s intricate and intriguing jewelry.
(Image from https://www.trekearth.com/gallery/Africa/Kenya/East/North_Eastern/Samburu_National_ Park/photo127575.htm)
It is said that jewelry in Africa dates back as far as 10,000 B.C., where jewelry was first constructed of simple natural resources. Animals were utilized not only to feed tribes, but also to create unique pieces made from bones, hides, and horns. Before trade was introduced to Africans, sticks, clay, seeds, shells, coral and stones could be foraged and utilized to fashion up jewelry. Beads became another valuable item for accessory making, as well as trade. Evolving from simple seeds to small glass ornaments, Africans were able to use aggri beads to barter with Europeans who entered the continent during the 15th and 16th centuries, when the African slave trade was beginning to rise. The more beads Africans had, the more valuable they were in the eyes of slave traders.
(Image from https://www.pinterest.com/pin/165648092516531850/?lp=true)
Speaking of beads, these tiny round items also serve a gaggle of other purposes. Dzi beads, echinacea beads and amber beads can either be consumed or worn by individuals, as they are utilized medically and as dietary supplements. Newborns commonly receive bracelets containing these beads as a way to physically and spiritually protect them from the outside world. Similarly, the dead also take these pieces to the grave. On a lighter note, waist beads, or strings of beads worn just above the hips, serve as a symbol of fertility, protection, seduction and healing. These accessories celebrate womanhood and femininity while ensuring prosperous reproductive health.
(Image from https://www.behance.net/gallery/5767485/Dipo-Ceremony-Krobo-Ghana)
For the Maasai people, beads are utilized to communicate various meanings via color codes. For example, red beads symbolize bravery and unity, white beads represent health and peace, and blue beads are used as a sign of energy. Not only that but the types of beaded necklaces worn by women communicate the marital status of the wearer. Unmarried women don flat beaded disc necklaces while soon to be married ladies sport elaborate, heavily beaded jewelry. Those who are married wear long strands of blue beads around their necks. Like the Maasai, Nigerian woman, too, wear accessory pieces to represent their courting status, which is presented in the form of woven bracelets.
(Image from http://www.freakingnews.com/Masai-Woman-in-Colorful-Clothes-Pictures-83725.asp)
Maasai women of high society are often styled in the most colorful beads around in order to show off their status. And like the Maasai, the Ashanti also use jewelry to represent social strata. Accessories in the Ghana region are usually limited to upper class individuals, who favor gold bracelets, armlets, anklets, rings, headdresses and more. Women of the Fulani, another tribe that loves gold jewelry, characteristically wear massive gold earrings as a symbol of wealth; the bigger the earrings, the richer the family.
(Image from https://interesting-africa-facts.com/African-Jewelry/Fulani-Earrings.shtml)
Egyptians, however, view their jewelry in a different light. Pieces created from gold and copper, often complimented with lapis lazuli, carnelian, and turquoise, hold spiritual significance and protect individuals from devilish spirits and bad energy. Egyptians wouldn’t even part with their beloved amulets and talismans when faced with death, as they believe their accessories could be carried with them into the afterlife.The Berber and Tuareg people also believe in jewelry’s spiritual powers, refusing to wear silver as it was deemed a metal of bad luck. Their jewelry is usually large in size, heavy in weight, and intricate in design. Geometric shapes are common templates for the Saharan region, and crosses are passed on from father to son in the Tuareg communities as a means to combat evil.
(Image from http://www.styleskier.com/five-interesting-facts-about-egyptian-jewelry/)
African men and women alike favor gold, but instead of wearing bracelets and necklaces like the ladies of Africa, men tend to prefer helmets and headdresses. Chieftains in Senegal model weighty gold head plaques, while Ashanti men at the Ivory Coast lean towards helmets constructed from stiffened animal hides that are embellished with gold leaves and wooden ornaments.
(Image from https://www.pinterest.com/pin/134474738844835952/?lp=true)
All in all, the intensely diverse and magnificent cultures of Africa all have one thing in common: their jewelry are works of art. Pieces like beaded necklaces and gold plated headdresses are a reflection of Africa’s people and their beauty, making this jewelry more than just jewelry. With a bounty of symbolism instilled in these pieces, African accessories perfectly embody how fashion can represent not only personal style and values, but also the world and the incredible cultures it encompasses. Looking for some stunning African inspired jewelry to add to your accessory arsenal? Be sure to check out our favorite styles on talkingfashion.net!
References:
Bello, Ebun. “Let’s Talk about African Gold Jewelry – History and Symbolism.” Zoede, 12 Nov. 2017,
https://zoede.com/lets-talk-african-gold-jewelry-history-symbolism/.
Fiandaca, Sean. “5 Things You Didn’t Know About Maasai Beadwork.” ThomsonSafaris,18 Oct. 2016, https://thomsonsafaris.com/blog/5-things-didnt-know-maasai-beadwork/. Katsande, Rukariro. “The Importance of Beads and Beadwork in African Culture.”
Wilderness Safaris, 11 Nov. 2014,https://wilderness-safaris.com/blog/posts/the-importance-of-beads-and-beadwork-in-african-culture.
Katsande, Rukariro. “The Importance of Beads and Beadwork in African Culture, Part II.” Wilderness Safaris,18 Nov. 2014,https://wilderness-safaris.com/blog/posts/the-importance-of-beads-and-beadwork-in-african-culture-part-ii.
Kimani, Natalie. “ANCIENT AFRICAN JEWELRY: Design History on the Continent.”The Designers Studio,22 Nov. 2017, http://tdsblog.com/ancient-african-jewellery/.
